![]() ![]() It’s an album that’s not hard to find – the standard version is re-pressed almost yearly, while a deluxe edition featuring contemporary B-sides was released in 2009 (all present and correct again here, the likes of Polyethylene (Parts 1 & 2) and Meeting In The Aisle would have been career-defining for some bands). Of course, Electioneering and Fitter Happier remain very skipable, but who wants perfect? Even the untethered Paranoid Android was a bona fide smash hit – different times. But still, there was room for mass communication Thom Yorke’s voice was never as focused or affecting as on Exit Music (For A Film) and Karma Police and No Surprises remain startlingly pretty, disaffected arena gloomfests. ![]() ![]() It was the album when bassist Colin Greenwood and drummer Phil Selway’s influence came to the fore: one for the heads, as they say. There’s a weed-heavy, humid atmosphere to songs like Subterranean Homesick Alien and Climbing Up The Walls that suggested they were finding more in common with the likes of Massive Attack and Portishead than the Britpop they were lumped in with. It marks the point when they both expanded their musical horizons way beyond the student union indie of their formative years, and started creating something that felt altogether more insular. Remember when artists were nurtured and given time to find some kind of defining voice? Who would have thought from their earliest efforts that, come their third album, Radiohead would be taking rock music to new places and reluctantly defining an era?
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