Artist: Radiohead

Album: ‘The King of Limbs’

Record Label: Self-released

Release Date: Feb. 18

Soundwaves: 3.5/5

Sounds Like: A Radiohead album meant for Radiohead fans

Radiohead has more tricks up its sleeve than Harry Houdini. Four years after the alternative rock group released its album ‘In Rainbows’ in a groundbreaking ‘pay what you want’ format that caused fans to swoon and critics to rave, the band returned to the public eye with a second stroke of public relations brilliance.

The band endeared itself to its loyal fan base on Valentine’s Day by announcing the members would release ‘The King of Limbs,’ their much-awaited follow-up effort, four days after they just announced they had started working on a new album.

Radiohead has chalked up another victory for successfully revving up its hype machine with the quick turnaround from the announcement to the actual release. But after four years of writing and recording, it came as a letdown that the album is the band’s shortest to date. Radiohead is a band that needs no introduction in the indie rock scene, but the band’s juggernaut status may have inflated the members’ egos and detracted from their work ethic.

The album starts with Colin Greenwood tickling the ivories on ‘Bloom’ but rapidly warps into experimental territory with guitar distortions and ambient electronic programming, a far cry from the organic sounds of ‘In Rainbows.’ On ‘Bloom,’ frontman Thom Yorke displays his knack for incoherent warbling, which is overshadowed by the thundering orchestral arrangement of the song.

‘Morning Mr. Magpie’ brings Radiohead back to its roots, driven by Jonny Greenwood’s staccato guitar riffs and brother Colin’s thumping bass grooves. The track starkly contrasts the opener, breathing new life and energy into the album that ‘Bloom’ sorely lacked.

‘Little By Little’ is as brooding as a teenager who shops at Hot Topic, as the diverse instrumentation creates a dark, lonely, sonic atmosphere Radiohead fondly inhabits for much of ‘The King of Limbs.’ Drummer Phil Selway does his best work on the kit on this angst track, effectively pacing Yorke’s melancholy-ridden whispery vocals.

However, the middle of the album stumbles with the discordant ‘Feral,’ which comes across as a filler track, something an album with only eight songs does not need. Although it can easily be construed as nothing more than an unnecessary interlude, Yorke’s vocals are all over the place, and it sounds as though the rest of the band members all decided to play different songs at the same time.

The album’s first single is ‘Lotus Flower,’ a track that jumbles pop sensibilities with progressive-rock experimentation. It ultimately comes across as if Vampire Weekend spent an afternoon in the studio with Daft Punk. It’s Radiohead’s most conventional, radio-friendly song on the album but seems misplaced in the track listing, sandwiched between ‘Feral’ and ‘Codex.’

If ‘Lotus Flower’ is the brightest star on the album, ‘Codex’ is the black hole that sucks the energy from its lead-in track and becomes entirely devoid. The song is a fairly straightforward piano ballad with triumphant horns blaring in the background, but Yorke’s apathetic vocals fail to convey the emotion a track like ‘Codex’ needs to have to be effective.

‘Give Up the Ghost’ starts with Yorke hitting a falsetto over the sounds of birds chirping, which is probably meant as a metaphor for the natural feel of the song. The acoustic guitar and tribal-style drumming are refreshing following an electrically top-heavy start to the album, and the track is a sheer breath of fresh air and tranquility.

Album closers have become something of a calling card for Radiohead over the band’s discography, and ‘Separator’ is no exception. Yorke’s vocals ring out over vibrant bass riffs and jaunty drumming, and the track brings a burst of much-needed energy as the track meanders its way to a finish.

Radiohead knows its audience and caters to it with ‘The King of Limbs.’ This is a Radiohead album meant for Radiohead fans. It’s probably not the best starting place for listeners who are trying to get into Radiohead and is a grower of an album, but the pop sensibilities and nifty electronic effects are enough to captivate even Radiohead’s most outspoken critics.

ervanrhe@syr.edu

Published on February 21, 2011 at 12:00 pm

Contact Erik: ervanrhe@syr.edu | @therealvandyman