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Old 05-04-2016, 09:21 PM   #121
crabshack
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It's the twitter bird, duh.

 
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Old 05-05-2016, 07:51 AM   #122
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Originally Posted by redbreegull View Post
I would say pigeons are the PBR of birds, crows are more like modelo or something
that's fucking racist

 
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Old 05-06-2016, 10:05 AM   #123
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New single just uploaded

Whole album goes up on Sunday

 
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Old 05-06-2016, 11:23 AM   #124
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You can't fool me anymore, Radiohead.

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Also, since Radiohead's thing is to just drop albums without much announcement, does anybody else have a suspicion that the manager said "June" so that they could surprise everybody by releasing it like next week or something?


Sounds a lot like In Rainbows, IMO. Also, why do, like, all of Radiohead's music videos only have Yorke in them?

 
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Old 05-06-2016, 11:29 AM   #125
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That's what I thought it's pretty In Rainbows I like it a lot

 
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Old 05-06-2016, 01:41 PM   #126
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That's what I thought it's pretty In Rainbows I like it a lot
Beautiful song. Like BTW better but this one is great. Already shaping up better than TKOL

 
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Old 05-06-2016, 04:22 PM   #127
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I'm digging it. Sounds like a mix of IR and Kid A.

 
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Old 05-06-2016, 06:14 PM   #128
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Originally Posted by Disco King View Post

Sounds a lot like In Rainbows, IMO. Also, why do, like, all of Radiohead's music videos only have Yorke in them?
It wouldn't be much fun to film the others guys sitting at a computer.

 
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Old 05-06-2016, 06:15 PM   #129
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Also I think that's Willie Nelson

 
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Old 05-07-2016, 02:51 AM   #130
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Yep.

The only thing that could make Radiohead interesting is me.

 
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Old 05-07-2016, 04:58 AM   #131
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Quote:
Originally Posted by Disco King View Post
You can't fool me anymore, Radiohead.





Sounds a lot like In Rainbows, IMO. Also, why do, like, all of Radiohead's music videos only have Yorke in them?
i thought the same about only yorke appearing in videos. pretty disrespectful to the rest of the group.

upon first listens, i don't care that much for these songs. it sounds like the well is running dry for the guys. it just sounds like less convincing versions of stuff they'd done in the past. so far i even liked KOL better. it's radiohead so there's always a chance repeated listens will change the picture, but who knows

 
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Old 05-07-2016, 07:00 AM   #132
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Funny you say that because these songs are as good as anything Radiohead has ever done imo

 
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Old 05-07-2016, 07:02 AM   #133
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Also there are several Radiohead videos with the rest of the band in them...

I mean the last two albums featured a video in which just Yorke appeared but I'm sure the band contributed to the idea

 
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Old 05-07-2016, 11:44 AM   #134
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ummm... where's the bleep bloop?

 
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Old 05-08-2016, 01:53 PM   #135
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Yo this album is out

 
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Old 05-08-2016, 02:02 PM   #136
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Should I fork out 9 and buy it now?

 
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Old 05-08-2016, 03:40 PM   #137
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I went all in at 60 but will have to wait until later in the week to listen to the thing... And Sept for the actual record to arrive. Thanks Thom.

 
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Old 05-08-2016, 04:08 PM   #138
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an early review

http://www.independent.ie/entertainm...-34696357.html

Radiohead have spent their careers not caring what anyone thinks so it would be an overstatement to describe the Oxfordshire five-piece as a band in crisis following the tepid reception afforded 2011's The King of Limbs album.

Nonetheless, it is tempting to conclude that they have taken stock after that record's bleary mash-up of dubstep, rock and ambient piano left even hardcore fans nonplussed. Released just after 7pm Sunday A Moon Shaped Pool, their much- awaited ninth long player, feels like a conscious exercise in course correction, with concessions to old-fashioned songwriting detectible amid the traditional Radiohead haze of free-floating electronica and fragmented angst.

The tone is set by Burn The Witch, the surprise single with which the group trailered the project. The track unspools in a fever dream of sad yodelling by singer Thom Yorke and yammering strings from guitarist Jonny Greenwood. Musically and tonally, it is A Moon Shaped Pool in microcosm. Throughout, the overwhelming mood is a pent-up weariness, with Yorke surveying the world and despairing (those who have read Burn The Witch as commentary on the demonising of migrants will no doubt see further political subtext in the frontman's endless pivoting from pathos to paranoia).

Occasionally, it is true, the tempo moves up or down a gear. Ful Stop erupts into an electro-percussive frenzy; Identikit's urgent groove serve as backdrop to one of those swoonful choruses Radiohead have been able to dash out in their sleep since The Bends (hopefully our ears deceive us and Yorke isn't actually singing "move your arse/make it rain").

There are longueurs, too, and A Moon Shaped Pool carries on the tradition of Radiohead albums that, two thirds the way in, appear to lose interest in being a Radiohead album. Here the culprits are The Numbers, a listless, piano-fuelled whinge that spends five and a half minutes circling the drain, and Tinker Tailor Soldier Sailor Rich Man Poor Man Begger Man Thief, which is as vexing and pretentious as the mouthful title would suggest.

Still, all is redeemed as the death as the group, again working with producer Nigel Godrich, debut an overhauled version of long-standing live favourite True Love Waits. The song tilts and shudders, threatening constantly to collapse under the weight of its own ennui. It's delicate and gossamer gauzy, a wispy fade out to a deft, measured record sure to find favour with Radiohead fanboys and passings admirers alike.

Rating: 4/5

 
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Old 05-08-2016, 04:41 PM   #139
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The Guardian's (rather lengthy) review

http://www.theguardian.com/global/20...ed-pool-review



Last Tuesday, the world was treated to the improbable spectacle of tastemaking US music website Pitchfork earnestly trying to explain Trumpton to its American readers. Their London-based contributing editor was drafted in, the better to elucidate the importance of Pugh, Pugh and Barney McGrew, as was the son-in-law of the show’s 96-year-old creator, although the latter’s solitary quote – “I’m not aware of anything” – winningly suggested a man quite keen to get the bloke from Pitchfork off the phone. Elsewhere, parallels were drawn between Trumpton and what might become of America were Donald Trump to become president, which feels like rather a harsh judgement on the seemingly benign regime of the Mayor and Mr Troop the town clerk.

This all happened because Radiohead had premiered a video based on Trumpton’s stop-frame animation for a compelling mesh of chattering high-maintenance strings and ominous bass and drum thunder called Burn The Witch, the first track to be released from their ninth studio album A Moon Shaped Pool.

You could possibly accuse the Pitchfork piece of over-thinking things a bit – it may well be that the band and director Chris Hopewell chose to depict Trumpton-ites immolating a bowler-hatted outsider in a wicker man as “a pointed critique of nativism-embracing leaders across the UK and Europe”, but there’s also the chance they just thought it was funny – but the fact that it exists at all tells you something about the unique position Radiohead continue to hold.

Artistically at least, these are supposed to be thin times for rock music, particularly rock of the stadium-filling variety. The really important, epochal, provocative stuff – the music that, to use a ghastly phrase, carries the conversation – is clearly happening in hip hop and R&B. With one exception: alone among their commercial peers, Radiohead are held to not just release albums, but make grand artistic statements, worth dissecting and poring over in the same way as the output of Kendrick Lamar or Beyonce: certainly, no one’s falling over themselves to decode the politics of Coldplay’s releases.
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Listening to A Moon Shaped Pool, you can see why. However much their style bears certain hallmarks – Thom Yorke’s keening vocal shiver and what you might charitably describe as a fairly glum bearing among them - Radiohead have always sounded like a band in constant motion: every album has seemed like an agitated shift from the last, as if they were too neurotic to rest on their laurels even if they wanted to.

Certainly, A Moon Shaped Pool is noticeably different to its predecessor, 2011’s patchy King Of Limbs. You’d hesitate to call it more poppy – this is still an album on which standard verse-chorus structures are very much subject to subsidence, and on which the instruments buried deep in the mix frequently seem to be playing an entirely different song to those in the foreground – but it’s certainly sharper and more focused.

There’s nothing as slippery and unclear as King Of Limbs’ Bloom or Feral. They seem as fascinated by sonic textures as they do by actual songwriting – the weirdly uplifting moment towards the end of Ful Stop (sic), when the song’s muffled sound suddenly becomes bright and trebly, as if a DJ has turned the eq knob on his mixer to the right – but it’s not an album that feels lost in experimentation. The abundance of sonic intrigue is matched by the quantity of beautiful tunes: the fact that True Love Waits, a track that dates back to the less knotty era of their 1995 album The Bends, fits perfectly in the line-up of songs tells you something about their unabashed melodic richness.

There’s something pretty dazzling about the way Tinker Tailor Soldier Sailor combines two of what you might call Radiohead’s extracurricular interests, Jonny Greenwood’s soundtrack work and the electronica Thom Yorke plays when DJing – soft explosions of white noise and a distorted keyboard line are slowly overwhelmed by a luscious string arrangement – but there’s something equally dazzling about the plaintively lovely tune that floats over folky acoustic guitar picking and a vaguely Latin shuffle beat on Present Tense.
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The simple prettiness of the piano figure that runs through Daydreaming battles it out with unsettling scrapes of backwards vocal that sometimes sound like oblique harmonies, but more often like someone struggling for breath. Identikit meanwhile, wrongfoots the listener entirely: it initially sounds like a studio jam session that made it on to the album through some kind of clerical error – snatches of vocal and scrabbling guitar, drums treated with dub reggae effects – before suddenly pulling into focus: a hook that immediately brands itself on to your brain, an agitated, thrilling guitar solo.

It is tempting to say that all this fidgety invention comes as a welcome distraction from the suffocating gloom of the lyrics, cursed as the latter are with a worldview that frequently sees any kind of personal happiness as merely the result of ignorance, wilful or otherwise: “dreamers they never learn”, “we are helpless to resist”, “I’ll drown my beliefs to your babies”, “we are happy just to serve”, “there’s nothing left inside that we all can love… I don’t want to know”.

That said, you do find yourself wondering if Radiohead’s collective tongue might not occasionally be wedged in their collective cheek, if, as with the video for Burn The Witch, they might not sometimes be parodying their austere image as rock’s premiere harbingers of doom.

“Don’t get heavy, keep it light,” offers Present Tense. The introduction to Glass Eyes is a thing of beauty and unalloyed pleasure, played on a piano treated with digital effects until it sounds like it’s been submerged beneath rippling water, at least until Yorke slopes into view, his face like the proverbial slapped arse. “Hey, it’s me,” he mournfully intones and immediately you think: uh-oh, here we go. And so it proves: “a frightening place, faces are concrete grey… panic is coming on strong”.

If the thought of Radiohead occasionally playing it for LOLs is too mind-blowing to bear, you’ll have to content yourself with the occasional chinks of light amid the murk.

There’s Desert Island Disk with its suggestion that “different types of love are possible” and The Numbers, which is also that rarest of things, a Radiohead track that doesn’t just vaguely resemble another artist’s work (anyone still intent on depicting Radiohead as a latterday Pink Floyd might feel their ears prick up at Decks Dark’s burst of Atom Heart Mother-ish choral vocals) but actually seems to be a direct and obvious homage to something else, or possibly two things: the resemblance of the tumbling piano parts to those on John Martyn’s 1971 instrumental Glistening Glynebourne might be purely coincidental, but the similarity of the intense orchestration, circling bassline and loose-limbed funk rhythm to Melody, the opening track of Serge Gainsbourg’s 1970 Historie De Melody Nelson, definitely is not. They’re certainly not the first people to mine that song’s arrangement for inspiration, but it says something about Radiohead’s inventiveness that they can warp music already plundered by everyone from Beck to Belle And Sebastian into something that sounds entirely their own.

Moreover, the high-drama swells of strings fit the lyrical message. Radiohead’s previous attempts at creating a rousing call to arms have been hobbled by their innate pessimism, as exemplified by 2001’s You And Whose Army?, on which Thom Yorke somehow contrived to sound utterly deflated while offering Tony Blair out for a punch-up in time-honoured “come on then” style. Here, however, the stuff about how the future is inside us and people have the power sounds authentically stirring. It also sounds like Radiohead achieving something they’ve never achieved before, a quarter of a century into their career: long may their neuroses keep them in constant motion.



Last edited by Elijah Moon : 05-09-2016 at 09:27 AM.

 
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Old 05-08-2016, 04:42 PM   #140
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Has anyone here heard it in its entirety yet? Thoughts?

 
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Old 05-08-2016, 09:15 PM   #141
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so do they like it?

 
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Old 05-08-2016, 09:27 PM   #142
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downloading now

 
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Old 05-08-2016, 09:50 PM   #143
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Kind of wonder why the physical copies don't come with instant downloads. The CD doesn't even come with a download at all.

Like, I like having physical copies, but I have to wait over a month to get it, and would only be able to listen to it in the meantime if I bought the digital copy in addition. And why would I buy the same album twice?

I dunno, didn't their last one add in an instant digital copy if you purchased the physical media? Isn't that how most bands that release stuff like this do it nowadays?

Eh I shouldn't really complain, they released their music and they aren't forcing me to buy or not to buy anything, so what more do I want? But actually yeah, more I do want. MORE.

 
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Old 05-08-2016, 11:31 PM   #144
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i'm only thinking out loud here, and as i said, my impression may very well change over time -

but upon listening to the first half of the record, it all sounds very underwhelming and uninspired to me. it doesn't sound like it has that special interweaving collaboration that these guys are known for. it just continues to sound like thom yorke mumbling new songs on his piano and pimping phil selway into programming drum loops behind it.
songs ruminate and don't really go anywhere, don't feel very thought out, it don't sound like there's any excitement behind them. this is what bored musicians sound like.

 
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Old 05-09-2016, 12:35 AM   #145
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Haven't listened yet, but I give it 3/10.

 
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Old 05-09-2016, 01:10 AM   #146
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If it was just the studio version of True Love Waits it would still be an A+ album.

Also: people who don't like King Of Limbs are uncultured swine.

 
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Old 05-09-2016, 09:26 AM   #147
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Quote:
Originally Posted by ciGarski View Post
so do they like it?
oh they gave it 4/5 too

 
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Old 05-09-2016, 09:29 AM   #148
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It's a beautiful album. Glad it is less electronic.

It's extremely slow and mellow, so, if you dig that...

Much more jazzy and live instrument based, which is refreshing for a Radiohead album.

 
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Old 05-09-2016, 01:05 PM   #149
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This is really beautiful stuff so far lovin it

 
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Old 05-09-2016, 01:46 PM   #150
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I bought it about an hour ago. On first, cursory listen sounds pretty gorgeous and, to me, like a subdued mix of some of the best parts of every post OKC album. Not all of it grabs me instantly, but I'll give it a better listen tonight

 
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