Posts Tagged ‘Ed O’Brien’

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Looking across Radiohead members’ solo ventures, Thom Yorke has three albums of his own, the latest being 2019’s ‘ANIMA’; Jonny Greenwood has scored several films, including Paul Thomas Andersen’s ‘There Will Be Blood’; drummer Phil Selway has two records to his name; bassist Colin Greenwood has had the odd deviation from Radiohead duties, but has largely stayed on script. And now Ed O’Brien looks set to break his duck with a debut album in 2020.

Because he is one-fifth of one of the world’s most consistently brilliant and successful bands, it’s a bit jarring to hear that Ed O’Brien still needs to combat the idea that his songs are “shit.” That inner monologue will be familiar to many musicians or creative people working in any medium, an inner critic that tells you whatever it is you’re doing isn’t good enough. But, well, most of our inner critics have a bit more solid evidence to stand on.

There wasn’t years of material. This was all from about summer of 2013 to summer of 2014. I also had to let go of the computer. I don’t respond well to operating as I go along—whether it was Ableton Live or Pro Tools, and they’re great software—but I needed to literally be lost in the moment and not have my engineering head on or whatever. I had a great studio in Oxfordshire which are owned by Radiohead’s management called Courtyard, and there’s a great engineer-producer called Ian Davenport, who’s worked a lot with Gaz Coombes.

His first work as EOB, including lead single ‘Brasil’, is produced by Flood, and is set to feature contributions from Laura Marling, Nathan East and The Invisible’s Dave Okumu, among others. “This feels like the start of something new and truly significant for me,” he told fans on social media in December. He promises to tour the record next year too. Really, I’m excited for the next one. I think every record that you make, you have to be learning, and you’re only learning when you’re out of your comfort zone, and I was out of my comfort zone the whole time.”

Flood and Catherine Marks produced [the record]; Flood produced all of it, Catherine was involved for some of it—and I talked to him a lot about wanting to capture the spirit of a place, and the spirit of this place in Wales, Lands, and to have a fully immersive experience. That we’d eat, sleep, and drink it. I’ve been very fortunate in Radiohead—you know, the first time we did that was with OK Computer—and we’ve done this, this has been a tried and tested route. And what happens is, you kind of get the soul of the record, and you get it in the early stages.

All the same, to hear O’Brien talk about how he was able to silence his own long enough to make “Earth”, his debut solo album released under the EOB moniker, might just help others along their own creative journeys. Conceived while living in Brazil in 2012, begun in earnest in 2013, and recorded in Wales and London with a cast of great musicians, Earth is a testament to an expert collaborator learning how to take control. But it’s no singer-songwriter affair; it’s a rhythmic album, with a pulse that beats even throughout its quietest acoustic moments and rises to festive, electronic heights.

Listen to ‘Earth,’ the new album by EOB (Ed O’Brien of Radiohead).

EOB: Earth: CD + Exclusive Signed Art Card

‘Earth’ is an album of rediscovery and adventure by Radiohead’s Ed O’Brien, being released under the moniker EOB. Written and recorded over five years during any possible break from the making and touring of Radiohead’s ‘A Moon Shaped Pool’, the album deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism.  Portishead’s Adrian Utley appears on two tracks, whilst Laura Marling duets with O’Brien on stirring closer “Cloak of The Night.” But every group of collaborators needs a leader, and Earth is all O’Brien’s vision.

The album deftly veers from moments of delicate folk to euphoric house, its songs seamlessly pinned together by unswerving melodic hooks and candid lyricism.A spirit of collaboration runs through ‘Earth’ from the production team of Flood, Catherine Marks, Alan Moulder and Adam ‘Cecil’ Bartlett to the extraordinary musicians O’Brien assembled to bring these tracks to life; bassist Nathan East, drummers Omar Hakim and Glenn Kotche, and The Invisible’s multi-instrumentalist leader David Okumu. 

“I wanted to make a record from the heart,” he says. “I wanted to make something direct. I wanted to talk about love, your family in the immediate and the wider sense, where we are on the planet, the bigger picture, life and death. I wanted to make a big hearted, warm and colorful album… something hopeful and full of love.”Featuring the singles “Shangri-La”, which sways between syncopated beats and twisted rock, and “Brasil”, a track that morphs from a tender opening into a heightened-state rhythmic banger, ‘Earth’ marks a new beginning for Ed O’Brien.

Radiohead - In Rainbows

When a band you once feared dead returns out of nowhere with one of their greatest albums, it feels a little like a resurrection. So Radiohead fans around the globe enjoyed a collective rush of euphoria in the early morning hours of October. 10th, 2007, when the band emailed out downloads of their first album in more than four years.

Radiohead worked on In Rainbows for more than two years, beginning in early 2005. In mid-2006, after their initial recording sessions with new producer Spike Stent proved fruitless, the band toured Europe and North America performing In Rainbows material before re-enlisting their longtime producer Nigel Godrich. The album is more personal than previous Radiohead albums, with singer Thom Yorke describing most of the songs as his versions of “seduction songs”. Radiohead incorporated a variety of musical styles and instruments, using electronic instruments, string arrangements, piano, and the ondes Martenot.

As In Rainbows hit the inboxes of everyone who’d pre-ordered it — for a price of the buyer’s choosing, in a somewhat revolutionary show of goodwill on Radiohead’s part .

In Rainbows  the seventh studio album  their first release after their recording contract with EMI ended with their previous album Hail to the Thief (2003). It was a surprise in several senses, and many of them had nothing to do with the sounds contained therein. After a brief hiatus, some public struggles to find their way forward in the studio, and a blossoming of side projects that suggested the band could be finished, the biggest surprise at that time was that a new Radiohead album existed at all. The band also released In Rainbows without a label, announced it just 10 days before its release, and didn’t share any songs ahead of time a unusual and minimal rollout by today’s standards and practically unheard of in that time . Even more radical was the pay-what-you-want scheme, which set off all kinds of debates about the viability of such a plan for smaller artists and the value of recorded music going forward.

In conjunction with its release and the absence of a record-label middleman, the payment-optional approach was Radiohead’s way of both accepting and subverting the reality of album leaks, which had compromised the rollout of their previous LP. Thom Yorke and friends weren’t about to have college radio stations blasting lo-fi MP3s of their new album weeks before the release date again. By tightly controlling everything except the price point, the band seemed to be telling listeners, “OK, you can have the music for free if you wish, but you’ll have it on our terms.” Not that the band ever really risked losing money on this gambit. Hardcore fans like myself shelled out big bucks for deluxe vinyl with an entire second CD of music, a package that ensured Radiohead would still be richly rewarded for their efforts. And when the experiment ran its course and TBD Records gave In Rainbows a conventional physical release the following year, it still sold enough copies to debut at #1 in the US and UK, rendering the project a win for Radiohead on all commercial fronts.

The strategy was fascinating and worthy of examination, but it unfortunately came to overshadow the album’s creative achievements. For students of the music business and most casual observers, the mode of release is the album’s legacy. In Rainbows was another batch of classics and consider how they fit within the arc of the band’s catalogue. Not including “Last Flowers”, which Yorke recorded in the Eraser sessions, the In Rainbows sessions produced 16 songs. After the 56-minute, 14-track Hail to the Thief, Radiohead wanted their seventh album to be concise;[ they settled on ten songs, saving a further six tracks (not counting short instrumentals) for the limited edition “discbox” release. Fans could order a limited “discbox” edition from inrainbows.com, containing the album on CD and two 12″ heavyweight 45 rpm vinyl records with artwork and lyric booklets, plus an enhanced CD with eight additional tracks, digital photos and artwork, packaged in a hardcover book and slipcase. The “discbox” edition was shipped on 3rd December 2007. In June 2009, Radiohead made the second In Rainbows disc available for download on their website for £6

There are days when In Rainbows sounds like the best Radiohead album. It’s definitely in contention with 1995’s The Bends as the band’s most approachable, compulsively listenable release — the one you can just put on and enjoy without turning it into a full-blown immersive experience, the one that will meet you wherever you’re at and be beautiful in your presence. It absolutely holds together as a coherent statement, 10 songs inspired by related themes and woven from a shared sonic fabric. Yet you never get the sense you’re beholding some epic musical journey á la OK Computer or Kid A, the other albums I’m most likely to name as Radiohead’s crowning achievements. .

That In Rainbows sounded this way was nearly as unexpected as its method of release. Here was their poppiest, most guitar-based collection of songs in more than a decade, a pronounced swerve away from the chilly electronics and crushing paranoia that had been a hallmark of their sound since OK Computer and swallowed it up completely on Kid A and Amnesiac. In hindsight, the group had already edged back toward guitars on 2003 career overture Hail To The Thief, an album that begins with the hard-rocking “2+2=5″ and includes the soaring career highlight “There There” among other six-string excursions. But those were part of a wide-ranging patchwork, whereas this album largely nudged electronics into the background in favor of an upbeat, organic sound, frequently accented by Jonny Greenwood’s orchestral arrangements but firmly grounded in the sound of a guitar-driven rock combo.

In Rainbows presented Radiohead with an unprecedented warmth as it found their singer exploring a more mature version of the sad sack from “Creep.” There are bittersweet tracks, like the fatalistic torch song “Nude” and the brisk yet self-loathing schoolyard chant “15 Step” and the clattering power ballad “Reckoner,” a treatise on facing down death. And there are angry tracks, like the powerhouse rock rave-up “Bodysnatchers” and the acoustic-orchestral pocket suite “Faust Arp.” No song ever fully gives into its darker impulses, though. The feeling when the band queues up “15 Step” or rips into “Bodysnatchers” in concert is pure visceral elation, and the lingering memory of “Nude” and “Faust Arp” and especially “Reckoner” is not ache so much as aching beauty.

And then there are the love songs. Most of the favorite tracks on In Rainbows are the ones on which Yorke risks an emotional wipeout by giving himself over to entirely to breathless affection, songs that revel in real or imagined romantic bliss even as they acknowledge life’s bitter realities. “Weird Fishes (Arpeggi)” gorgeously captures the feeling of being possessed by attraction only to be left unsatisfied yet again, its plaintive guitar needlework building to a transcendent climax then careening off a cliff and into the depths. The darkly swooning “All I Need” traces similar paths; as Yorke professes his unrequited desire for a woman who seems to be missing him in plain sight, the song’s remarkably straightforward structure culminates in an overwhelming wave of melancholy.

“House Of Cards,” Radiohead’s idea of a sexy slow jam, is probably the tenderest song in Yorke’s catalog. “Jigsaw Falling Into Place” details the flickering passion of a barroom flirtation against a locomotive backbeat that very much recalls a bar band. And as In Rainbows draws to a close, the deconstructed piano ballad “Videotape” returns to the themes of fleeting ecstasy and creeping death. The lyrics are basically Yorke putting a morbid twist on Lou Reed, realizing this “perfect day” with a friend or lover will be part of the highlights montage when his life flashes before his eyes.

Many of us have had a similar epiphany moment while listening to In Rainbows. One last surprise to consider is how well this album holds up 10 years later. It felt like a private gift at first, overflowing with delights but too minor in scale and conservative in style to qualify as the latest Radiohead masterpiece. To return to it more than any other Radiohead album, and its tracklist is as stunning front to back as any of the group’s other elite LPs. A decade down the line, with two more albums in the rearview, it’s becoming increasingly clear that In Rainbows deserves to be in the conversation when discussing Radiohead’s finest recorded work.