Review Summary: On their eighth album, Radiohead take a slightly different angle, crafting a more divergent but harmonious work.
Have you ever been alone in a forest and felt a certain, unexplained connection with nature? Well, if you haven't, Radiohead's eighth album, The King of Limbs, gives you a taste of what it would be like. Describing this LP in words is actually quite difficult, but one thing is certain: it does not sound like In Rainbows. This album carves out a different path for Radiohead, and it is the choice of the listener to follow along.
The King of Limbs is an interesting album, carrying a relatively subdued sound on the band's shortest album to date. While the album does sound different, there is nothing particularly innovative or revolutionary about it. However, on its own, it is a great album that relies on equal contribution from all the band members. Colin Greenwood especially shines on this LP with superb basslines that underscore many of the tracks. Radiohead relies on both electronic beats and complex instrumentation that cooperate with little struggle. Looping is another one of the record's intriguing features, as the music often succumbs to entrancing stretches of rhythm and depth. The album is over in the blink of an eye, but there are some great songs to savor.
"Bloom" kicks off the album with an alarming but exquisite piano loop before leading into a repetitive and hypnotic drum beat. The song itself sounds like a puzzle that is never quite solved, leaving the listener guessing. The opener slowly melts into "Morning Mr. Magpie", a medium-paced number driven by an outlandish guitar riff. However, the song becomes a little too repetitive and stiff as it wears on. As the album unfolds, the sound becomes increasingly democratic, not prioritizing one instrument over another. Although, the bass always seems to deliver the greatest punch, and it gives the album its own heartbeat. Additionally, "Little By Little" builds upon the impetus of the first two tracks with an unyielding percussion section overlaid with guitar and electronics.
The album's more experimental half comes to a close with "Feral", possibly the band's strangest song since "Pulk/Pull Revolving Doors". The groove of this track never lets up with Thom Yorke's vocals serving as yet another instrument among a coating of bass and electronic textures. The track finally reaches a satisfying resolution with a closing bass solo. The majority of the content on King of Limbs is very mellow, placing greater emphasis on the peculiar ambiences that are constructed in the LP's advancement. As a result, the LP moves along smoothly in a rather passive fashion, enticing the ears with its nuances. However, the first half of the album comes across as more of a mood piece than a series of robust songs and, thus, lacks in moments of transcendence, which the second half luckily delivers.
The second and more immediate half of the album commences with "Lotus Flower", an enjoyable, upbeat track with pleasant vocal hooks and a splendid beat. "Codex", the highlight of the album, tones things down with peaceful piano and dazzling horns. Thom Yorke demonstrates the utter scale of his vocals and brings a myriad of emotions to the track. Thus, he creates an awe-inspiring sound that connects the listener to the ravishing natural environment established throughout the song. What makes the King of Limbs stand out is its finesse. There is an air of shyness within Yorke's voice as well as a degree of cheerfulness that is sometimes clouded in the cryptic exterior of the band's sound.
Next, "Give Up the Ghost" utilizes a folksy style to deliver a forbearing, poignant tune. The song never bursts out of its shell, and, as a result, it comes across as both comfortable and appealing. The album comes to a close with "Separator", another great track that leaves the listener wanting more once it ends. Phil Selway's drumming is constant and restrained, while the subtle bassline wanders through the depths of the track. Coupled with the airy guitar, Yorke sends off the listener with optimism, repeating, "If you think this is over, then you're wrong." While the album is devoid of true finality, it ends artfully of its own accord. While it lacks a discernible climax, the King of Limbs feels very purposeful.
The King of Limbs is another promising album that grows on me with every listen. The album's short length left me thirsting for more, but I can rest assured that Radiohead is still making great music. It is hard to tell which direction the band will take following this LP, but it is nice to see them exploring on their own terms.
Favorite Tracks:
Codex
Lotus Flower
Give Up the Ghost
Bloom
