Posts Tagged ‘Radiohead’

Radiohead are in full on nostalgia mode around the 20th anniversary of their career-defining “OK Computer”, album release due the end of this month ,  they’ve just dished out a live version of an outtake that has gone largely under-appreciated in the wake of the album’s release.

“Normally, I don’t think we’re the sort of people to look back, but it was interesting when we did…” Thom told the crowd, adding “what a bunch of nutters we were, and probably still are.

“One of the crazy things we did was not release this song, because we didn’t think it was good enough,” he finishes, before easing gently into a track that not many Radiohead fans has heard live for over two decades.

Listening to the track side by side, Thom’s powerful yet delicate voice sounds as if it could have been plucked from 20 years ago, too – or perhaps even a little richer with age. Either way, this is how an anniversary celebration is supposed to be done.

“I Promise” is one of 3 previously unreleased tracks from the album OK Computer OKNOTOK 1997 – 2017 – 20th Anniversary album release.

Photo credit: Danny Clinch

When Radiohead releases OK Computer: OKNOTOK, an expanded edition of their groundbreaking 1997 album O.K Computer in June, fans will finally hear three tracks that have long say in the band’s vaults and brains.

Though previously unreleased, the three tracks, “Lift,” “I Promise” and  “Man Of War” won’t be completely unfamiliar to fans. “Lift” has had a regular spot in 1996 set lists , when it became a fan favorite, and was resurrected on tour in 2002. Radiohead started tinkering with it again in 2014, while they began work on 2016’s “A Moon Shaped Pool” .

According to fan site Green Plastic frontman Thom Yorke said he wasn’t happy with their live performances of “Lift” in the ‘90s, and even recorded a few versions during their sessions for OK Computer but never released it. Yorke wanted to air it out before the band began dissecting it. They toyed with putting versions it on Kid A in 2000 and “Amnesiac” in 2001, but it never came to fruition.

“We haven’t lost the song. We played it too much in a certain way that didn’t work in my opinion,” he said. “It didn’t feel right. So we need to approach it in a different way but at the time of OK Computer it was impossible to get into rearranging it because everyone had fixed ideas on what to play and we’d all just got into a habit we couldn’t break, like staring too long at strangers, know what I mean?”

Although guitarist Ed O’Brien called the song “a bogs—e B-side and we were very happy to leave it off the album,”  Radiohead unveiled a slower, more lyrically polished version of “Lift” in Lisbon, Portugal, and at a few other shows in 2002. The update also notably removes mention of Thom, the person being saved from a stuck elevator.

As recently as 2015, while confirming that the band had been working on the tune again, guitarist Jonny Greenwood told the Dutch website 3voor12 that such resurrections are common practice for Radiohead albums.

“What people don’t know is that there’s a very old song on each album, like ‘Nude’ on In Rainbows. We never found the right arrangement for that, until then. ‘Lift’ is just like that. When the idea is right, it stays right. It doesn’t really matter in which form.”

Like “Lift” and “Man Of War” both of which will also be included on the reissue of Radiohead’s  O.K Computer OKNOTOK  a reissue marking the 20th anniversary of O.K Computer, “I Promise,” which you can listen to above, was a regular on the set lists of the ’90s.

In particular, the song was played on tour in 1996, but never to return to performances or see an official release, though it has long been circulated by fans on bootlegs. Despite a large swath of unreleased Radiohead songs, all three were among those most widely topping fan’s wish lists.

“I Promise,” however, is more personal than the other two songs that are getting their first official airing, as well as the bulk of 1997’s OK Computer. Where the rest of the coming two-disc collection revolves around more abstract ideas like technology, globalization and aliens, “I Promise” seems like it might follow a couple’s argument, with the narrator’s pledge to do better.

Several fan favorites will be among the three previously unreleased tracks that will grace Radiohead’s 20th anniversary reissue O.K Computer OKNOTOK iincluding “Man of War,” .

Marking the anniversary of their groundbreaking 1997 album OK Computer, the two-disc set will also include “I Promise” and “Lift.” All three tracks, though never officially released, were setlist mainstays in the ’90s, and have floated around on bootlegs for years. The song was written around the time the band released their second album, “The Bends” , in 1995. It has alternately been called “Big Boots” or “Man o’ War.”

According to the fan site, Green Plastic, the band tried to record it several times, including for The Avengers soundtrack, but were never satisfied with the results. They were seen working on it in their 1998 documentary, Meeting People Is Easy, but it had been left in the vaults because, as frontman Thom Yorke told MTV’s 120 Minutes, they “couldn’t find a proper way into it.”

“We ditched it because we were so messed up and we went in, tried to do the track, but we just couldn’t do it. It was actually a really difficult period of time,” Yorke said. “We had a five-week break and all the s— was coming to the surface. It was all a bit weird – I mean we went in and tried to do this old track that we had and it just wasn’t happening at all. It was a real low point after it.”

After a week of fans speculating on what would an anniversary edition might include, many of them wonder when they’ll hear the updated versions of these previously unreleased tracks, like “I Promise,” live. Radiohead will begin the European leg of its 2017 tour on June 7th.

XL Recordings

You can pre-order OK Computer: OKNOTOK, which will be released on June 23rd, on Radiohead’s website.


Ryan Adams delivered a haunting, solo acoustic version of Radiohead’s “Karma Police” during a Saturday session spot on BBC Radio 2. The singer-songwriter stayed true to the epic OK Computer ballad, even creatively crooning the eerie, descending vocal melody from the song’s bridge.
Ryan Adams also commented on how AC/DC, ELO Inspired songs for his upcoming Album
“I was listening to AC/DC’s ‘Fly on the Wall,’ and that’s when I realized what I had to do for the record,” singer-songwriter said in new interview

“I woke up this morning and I was jetlagged, and I had a full day of press,” he told the BBC. “But I wanted to do a couple of covers. And I know plenty, but I wanted to do something new that I hadn’t done before. So I went, what are two or three songs I could try to learn before I have to go to my first thing. And this was one. I don’t know if I’ve learned it in a great, new and interesting way, but I also thought it’s fitting, because there’s a pretty awful person who just got elected in the United States. So I don’t know why, but that song popped into my head this morning.”
Adams also performed a solo version of “Doomsday,” the anthemic folk-rock single from his upcoming 16th LP, “Prisoner”, due out February 17th.

The songwriter recently announced the album’s limited-edition “End of the World” box set containing 17 previously unreleased B-sides, seven-inch vinyl for each of the 12 songs and a 2-D action play set with assorted action figures.
On Monday, Adams released a video for power-ballad “Do You Still Love Me?.” The clip blends onstage footage with shots of Adams and his production team in the studio.
Singer-songwriter told BBC Radio 2 his performance was inspired by “pretty awful person” Donald Trump

Rock Werchter 2017

Announcing the best news of the week by far! Foo Fighters – the premiere rock band of the 21st century – play Rock Werchter on Sunday 2nd July 2017. What a festival closing act! We now have announced four amazing names for the upcoming festival, which takes place in the Festival park in Werchter (Belgium) from 29th June to 2nd July 2017. Radiohead plays on Friday 30 June, Linkin Park and System of A Down on Saturday 1st July and Foo Fighters on Sunday 2nd July. More names to follow soon.

In the 20+ years since the 1995 release of Foo Fighters’ self-titled debut, Dave Grohl, Taylor Hawkins, Nate Mendel, Chris Shiflett and Pat Smear have grown into a world class headliner dominating stadiums, arenas and festivals across the globe. The band’s massive catalogue of gold and platinum albums has won 11 Grammys, four Brit Awards, sold 25+ million records, and is the backbone of marathon shows powered by singalong anthems “Everlong,” “Monkey Wrench,” “My Hero,” “Learn To Fly,” “All My Life,” “Best Of You,” “The Pretender,” “Walk,” “Something From Nothing” and more. In 2015 Foo Fighters were forced to cancel their appearance at Rock Werchter, but they’ve made good on their promise to return and will bring Rock Werchter 2017 to a close on Sunday 2 July.

Rock Werchter 2017

The first name is in for Rock Werchter’s opening day. Arcade Fire will play the festival on Thursday 29 June. Rock Werchter hosts this five-star Canadian band for the second time. They were last here in 2010. Five massive names for Rock Werchter 2017 -which takes place from 29 June to 2 July in the Festival Park in Werchter (Belgium)- are now in: Arcade Fire play on Thursday 29 June, Radiohead on Friday 30 June, Linkin Park and System of A Down on Saturday 1 July and Foo Fighters on Sunday 2 July.

Every one of Arcade Fire’s albums is an artistic and commercial triumph. So, in the style of 1001 Albums You Must Hear Before You Die , with a silver lining: their amazing debut album, ‘Funeral’ (2004), is a fierce rallying call for beauty, emotion and absurdity in music. Artful rock with a punky outlook – a major lift in times of chaos and anxiety. ‘Neon Bible’ (2007) establishes the Canadian six-piece as one of the key bands of the 21st century. “It’s like standing beside the ocean at night”, or so its makers tell us. ‘The Suburbs’ (2010), their equivalent of ‘OK Computer’, is a prize winner, which – rightly, if a little unexpectedly – scooped a Grammy for Album of the Year. ‘Reflektor’ (2013) goes off ‘all guns blazing’ and shows what Arcade Fire still have to offer after all these years. Onwards and upwards to album number 5. That line just keeps on rising.

Rock Werchter 2017

Friday 4 o’ clock comes early today…  Another great name just has been added to the Rock Werchter 2017 bill. The British trio alt-J play the Festival Park on Sunday 2 July. These guys are musical wizards. Type alt and J on an Apple keyboard and you get Δ, the Greek letter delta. It’s the symbol used by scientists to mark a change in value. We can be forgiven for saying that the alt-J trio have done something similar with the history of pop. They’ve created their own universe from the highlights of the last 60 years. And they’ve been as expert at this as they’ve been inventive. Alt-J reach their tenth anniversary in 2017.
For Rock Werchter 2017, from 29th June to 2nd July, the first of the big names is in. Radiohead who will perform on Friday 30th June. Few artists combine success with experimentation the way Radiohead do. Their ninth album, A Moon Shaped Pool (2016), is yet another hard hitting and inventive artistic statement. It’s going to be great to see this band again. The last time they played Werchter was in 2008.
Another amazing band has been announced for Rock Werchter 2017: LINKIN PARK! A band we’re always mad keen to see. Linkin Park top the wish list at any festival, and online streaming services place the American six-piece among their most-frequently-listened-to artists. The band even has two tracks in Spotify’s Top 10 timeless songs. Yes, with over a hundred million streams between them, ‘In The End’ (# 6) and ‘Numb’ (# 3) sit with the likes of ‘Billie Jean’ and ‘Smells Like Teen Spirit’. Having started as an alternative metal band in the mid-nineties, Linkin Park amassed bigger audiences by incorporating elements of hip hop and electronic music. Two front men give the band a distinct dynamic: Chester Bennington’s intense vocals bouncing off Mike Shinoda’s stellar raps.
Linkin Park will play Rock Werchter on Saturday 1st July.  This will be the band’s second time at Werchter, having first appeared in 2011. Linkin Park is currently recording its 7th studio album.
Rock Werchter 2017

News extra. Because it is allowed. Because Kings of Leon have confirmed they will play the festival on Thursday 29th June . And that’s worth celebrating. The list of massive names for Rock Werchter 2017, which takes place from Thursday 29th June to Sunday 2 July at the Festivalpark in Werchter (Belgium), is gradually growing. As it stands: Kings of Leon and Arcade Fire play on Thursday 29 June, Radiohead on Friday 30 June, Blink-182, Linkin Park and System Of A Down on Saturday 1 July. Foo Fighters close the festival on Sunday 2 July. More to come soon.

The Followills are Werchter’s royal family. Brothers Caleb, Jared and Nathan Followill, and their cousin Matthew, love to play the Festivalpark. On their seventh album ‘WALLS’ (2016), Kings Of Leon have found the perfect balance between the animated garage band they started out as, and the arena rock that brought world fame. Their story is a parable. The four are raised in the deep and devoutly religious south of the United States. Rock ‘n’ roll is the devil’s music – and their chosen weapon of rebellion. The holy fire leads to evergreens like ‘Sex On Fire’, ‘Use Somebody’ and ‘Waste A Moment’. Fame catches hold in Europe and spreads back home to the US: ‘WALLS’ is the band’s first American number 1. The title is the acronym for: We Are Like Love Songs. That’s five syllables, just like the last six albums…
Rock Werchter 2017

This week the Rock Werchter team is delighted to confirm some great new acts for the upcoming edition. Five to be precise: Royal Blood, Bazart, Bonobo (live), White Lies and Agnes Obel. The line-up for Rock Werchter 2017 is slowly taking shape. Take a look:

  • Thursday 29 June: Arcade Fire, Kings of Leon, Imagine Dragons, Lorde, Agnes Obel
  • Friday 30 June: Radiohead, James Blake, Oscar And The Wolf, Royal Blood, Bazart, White Lies, Future Islands
  • Saturday 1 July: Linkin Park, System Of A Down, Blink-182, Bonobo (live)
  • Sunday 2 July: Foo Fighters, alt-J, Dropkick Murphys, The Lumineers
Tickets to Rock Werchter 2017 go on sale on Saturday 19 November at 10 am.  Previously announced are Radiohead on Friday 30 June and System of A Down on Saturday 1 July.

Image result for radiohead 2016

There was a lot of trepidation with regards a new Radiohead album. 2011’s The King of Limbs was a great album but not up to the lofty heights of their previous oeuvre. A Moon Shaped Pool had such build-up and hype that it absolutely had to deliver the good. When lead single “Burn the Witch” arrived; all those anxieties and tensions dissipated. Nervy, politicised and string-laden: a golden Radiohead track that mixes the orchestral touches of Kid A and the dark undertones of Hail to the Thief. Complete with a Trumpington-inspired video and one of Thom Yorke’s finest vocals in years – the Oxford legends back to their very best.

Who knows what a “low-flying panic attack” actually is (a drone? an airborne virus?), and who cares if that stabbing string arrangement lends this single more jittery paranoia than its lyrics. Burrowing deep into the language of English folk music, Radiohead rewrite “Karma Police” for the new millennium, as if gobsmacked that this sentiment is still relevant twenty years later.

Radiohead Burn the Witch

To coincide with their nomination for the coveted Mercury Prize, Radiohead have shared an intimate live rendition of A Moon Shaped Pool album cut “Present Tense.” It finds band members Thom Yorke and Jonny Greenwood fingerpicking guitar their way through the latin-flavored lament with help from a Roland CR-78 drum machine in a lowly lit performance directed by Paul Thomas Anderson, who previously worked with Radiohead on the video for “Daydreaming.”

Couple With Records

Image of Case / Lang / Veirs - Case / Lang / Veirs

Case/Lang/Veers case/lang/veers CD/LP+MP3 (ANTI-Records)

case/lang/veirs = Neko Case, k.d. lang, and Laura Veirs. Full of stunning harmonies and spellbinding rhythms, case/lang/veirs travels through aches and eras, torch songs and tributes to the undersung. Several years ago K.D. Lang sent an email to Neko Case and Laura Veirs on a whim. It read simply, “I think we should make a record together.” Though the three musicians were barely more than acquaintances “Laura and I both responded immediately,” recalls Case. “There was no question.”

But now there is an answer. ‘case/lang/veirs,’ a new album by three phenomenal, self-driven artists. ‘case/lang/veirs’ features fourteen new, original songs written by the artists over a period of two-and-a-half years. It was recorded in Portland, OR where lang and Veirs both live, and produced by Tucker Martine with the group. Sessions commenced in lang’s loft with a view of Mount St. Helens, and in Veirs‘ dining room and backyard studio.
Full of stunning harmonies and spellbinding rhythms, ‘case/lang/veirs‘ draws inspiration from alluring, mysterious subjects: a supermoon, the tumbledown story of 70s singer Judee Sill, and the “best kept secret” in Silver Lake, to name but three.

Image of Radiohead - A Moon Shaped Pool

RADIOHEAD – A Moon Shaped Pool

Radiohead’s ninth LP proper sees them once again couple with mega-producer Nigel Godrich. Together they have created possibly the band’s most coherent record of their whole career.  Some of these songs date well back in time and that coupled with the accessibility of comeback single Burn The Witch and their recent  dare-I-say fan-pleasing set-lists suggest a group finally comfortable in their own skin, embracing all that they really are.  So you do still get electronica, but less of the fractured kind. Sure, Thom still sings of alienation, doubt and paranoia, but  in the most beautiful way imaginable. These songs  build and build, swept into shape by Johnny Greenwood’s London Contemporary Orchestra strings, peppered with psych-folk and even dub reggae vibes. It’s heavy, (let’s face it) depressive, but eminently listenable. One for diehards, but crucially, the casual listeners too.

Image of Low Anthem - Eyeland

Low AnthemEyeland CD (Razor & Tie)

The Low Anthem are not only musical artists, they live their lives as art. The band creates constantly for themselves and others in their home base, The Columbus Theater in Providence, Rhode Island. This new release is the return from an extraordinary five-year journey with Eyeland, an unprecedented collection of multi-dimensional future folk crafted with uncommon vision and emotional depth. The Providence, RI-based band’s fifth full-length recording, Eyeland began as a “vague and rather abstract” short story by co-founder/singer/guitarist Ben Knox Miller, based around the “sonic mythology of a moth’s dreams.”

The tall tale became real life as Low Anthem immersed themselves in the creation of their own Eyeland Studios, developing Providence’s once obsolete Columbus Theatre into an innovative and in-demand recording space and live concert venue. Eyeland proves a prism of the album’s inner themes, refracting Miller and co-founding drummer/multi-instrumentalist Jeff Prystowsky’s sonic escapades into a full-blown Möbius strip of music and meaning. Low Anthem’s lofty aspirations and creative capriciousness resonate throughout songs like “The Pepsi Moon” and “Behind The Airport Mirror,” their elegiac arrangements and lyrical frankness marked by shimmering ambience and a hauntingly defiant tension. Psychedelic in the truest sense of that overused word, Eyeland is a perspective-shifting musical experience at once elliptical and intangible yet still precise and powerfully personal.

Image of Mitski - Puberty 2

MitskiPuberty 2 CD/LP/Cassette (Dead Oceans)

“Mitski Miyawaki is only 25 years old, but she’s already on her fourth album, and she’s developed an emotional vocabulary light years beyond almost anyone else working right now. With her new Puberty 2, Mitski has made one of the year’s best indie rock albums: An auteurist piece of profound, personal lo-fi music that finds sharp ways to say serious things. The album veers in different stylistic directions, but it’s also cohesive enough to get lost in.”  [Limited white color vinyl copies also available.]


Weaves have been working on their debut LP for almost as long as they have been a band, tracking with Leon Taheny (Dilly Dally, Owen Pallett, Austra) in sessions that span most of the last two years. Mixed by Alex Newport (Bloc Party, Melvins, At The Drive In) and mastered by John Greenham (Death Grips, Sky Ferreira), the result is an album that traverses the band’s history, exploring every facet of their always adventurous approach to pop music and leaving no idea unexplored. Filled beyond bursting with hooks and possibilities, it’s the sound of a band propelled forward by the thrill of discovering the limits of their sound and gleefully pushing past them. Think a mix of an angry Micachu fronting the Pixies or a punky Tune-yards with brilliant flashes of melody.
LP – Neon Pink LP with download code.


12″ coloured vinyl. TCODK – a four-piece from the Midlands – make the kind of experimental goth- tinged psych that, has thus far, eluded 2016. Fans of Swans and The Icarus Line will find plenty to entertain them here – this is a band unafraid to take risks. The thing that first impresses on hearing TCODK is the sheer scale of their intentions. Speaking of first single ‘Broken Arm Of God,’ the band said “we wanted it to sound like a volcano giving birth to an atomic bomb. It has bass and baritone guitar that killed 3 guitar amps in one afternoon, then a studio preamp. It’s probably costing us a fortune in damages and repairs. The result was exactly what we wanted though” This band can make a lot of noise. To focus on that however would be to negate what makes this band truly beguiling: nuance. Take ‘Deepest Pit Of Emptiness’ for example – its prog leanings combined with a decidedly English vocal delivery are as distinctive and profound as anything released this year. TCODK have pushed themselves sonically on this album, it’s by far their most experimental release to date. It’s also an album rooted in darkness. “The new album deals with the theme of uncertainty, and put more simply – the end.” That theme resonates throughout the entire album. Fans of Black Rebel Motorcycle Club will be enamoured, but play to it a Sisters Of Mercy fan and watch their reaction: there is a new contender for the throne.


Third in the series of Lou Reed live Concert albums these two shows taken from the 1978 Street Hassle Tour. Features in depth liner notes by author Dick Porter, Unseen photographs in the 12-page booklet plus deluxe album cover packaging. Includes classic tracks   Walk On The Wild Side & Satellite of Love from the iconic Transformer album as well as Velvet Underground tracks Sweet Jane & Rock N Roll and introducing the just shy of 13 minute brutal Street Hassle. Disc One Cleveland Music hall Ohio 26th April 1978.


David Bowie – The Rise And Fall Of Ziggy Stardust And The Spiders From Mars [Reissue/1972] 2xLP (Rhino/Parlophone)
David Bowie – Live Santa Monica ’72 [Reissue/1973] 2xLP (Rhino/Parlophone)
HQ-180gm vinyl reissues now available.

The new Radiohead album has been drip-fed. The first two tracks released out of the blue and in sequence, accompanying oddly filmic (and very different) videos. First the Wicker Man of Trumpton and then Paul Thomas Anderson’s abstracted tracking shot of Thom Yorke just looking for a place to lie down and moan backwards.

‘Burn the Witch’ thudded like an eerie herald. It felt like a summoning, a ritual. Suddenly something new was coming, and it sounded very unlike Radiohead. Sure, Thom wasn’t exactly spitting rhymes about diamonds and sunshine all of a sudden, but there was an urgent hopefulness to the strings that slammed in from nowhere, and kept finding ways to build up.

I couldn’t work out how to piece that together with ‘Daydreaming’, which sounds like the band taking another stab at a Bond theme, after ‘Spectre”s surprising success. We were actually trying to work out whether ‘Daydreaming”s video was a horrifying metaphor for alzheimer’s, or just Thom Yorke’s interpretation of an actual Bond film: ‘I’ll just walk through a lot of rooms and smirk a little, right? That’s basically the essence of Bond.’

Because it’s a perfect little Sunday evening laze of a record, really. For all the doom-laden proclamations and the unsettling backmasking, it’s Radiohead letting you take a break.

The pounding rhythm, ominous synth and eventual jerky vocal parts serve up a nervous platter of gorgeous.

“Burn the Witch’ wraps an anxious violin around a throbbing stylophone bassline to brutal effect. As it thickens, it opens up, every upwards, always pulling.

‘Daydreaming’ starts with rattled chimes and ends with a backmasked vocal that sounds like an old robot dog, that can no longer breathe, trying to breathe. The simple piano motif will stay with you forever.

When ‘Decks Dark”s zitherish warbling gives way to its piano groove, it takes a turn into darkness. The piano and bass interplay becomes a thrill, albeit a quiet, laid back one.

‘Desert Island Disk’ is probably one of the simplest Radiohead tracks in the back catalogue. That in itself is striking.

‘Ful Stop’ is not quite motorik, but uses a similar beat to pull you forward. It builds a basic layer of synth wash, and only pulls out the full weight of its instrumentation halfway through. It’s another opening out, almost a bursting. The lyrics become another set of layers, finally keeping pace with the rest of the track. It’s a delicate knot of sound, that revels in its own unfurling in the final seconds.

‘Glass Eyes’ is the one that’d make you cry if it went on a little longer. Through boredom or emotions, depending on your taste.

‘Identikit’ is all jerky drum line and patient waiting, with oddly gospel vocal motifs eventually lifting it out of its own stark mire.

‘The Numbers’ is just a journey. It meanders. It admires the view. It is almost haunted by its own tiny occasional piano motif, that only falls apart in the final moments, surrounded by quietly cut-up laughter.

‘Present Tense’ shuffles around itself, and probably deserves another video of Thom dancing.

‘Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief’ takes its spy-thriller riffing title seriously, when it pulls slowly from grim loneliness into breathtaking cinematic strings.

And ‘True Love Waits’ finds a way to drown itself, slowly building up its own echo and reverb. Letting itself get more lost, more lonely, more desperate.

The record is lovely, accessible, warm and soothing. It has few rough edges, and many intriguing moments.

‘The Numbers’ is the latest in the long tradition of tracks that rip off the strings from Serge Gainsbourg’s ‘Ballade de Melody Nelson’, but it recontextualises them into such a sweeping breadth that it once again pulls it off.

The album doesn’t feel structured though. I couldn’t see how ‘Burn the Witch’ was supposed to fit with ‘Daydreaming’, and I still don’t. ‘Burn the Witch’ feels like it’s opening a very different record to the one it does. Its urgency is only really matched by ‘Ful Stop’.

For the rest, it feels almost like a beach record. ‘Present Tense’ in particular, with its Spanish guitar and thrumming maracas, feels like Thom and boys having an existential crisis on a tropical beach. The guitars are glistening blue waves, lapping at the toes of Thom’s anxiety. The shuffle dances around him, along with all the added layers as the track moves on.

Really, this is at the core of what I’ve always loved about Radiohead. Detractors will call them a miserable band and it’s fair. Thom sounds bleak and lonely throughout, and sells that tone efficiently, with the usual range of keening wails and cryptic lyrics. But actually, beneath that, has always been an undercurrent of joyfulness. ‘Let Down’ was always the cheeriest possible way to have a nervous breakdown.

And that’s where this album stands. It’s an uplifting break-up record. Torn hearts on sunny days.

Much fuss has already been made about the album closer. A track that’s been heard live since 1995, ‘True Love Waits’ got a sparse live recording around the Amnesiac period, and has apparently been the subject of speculation for a long time. The studio album finally lands, and it’s a lovely thing, piano-wrapped, mechanical sounds exposed, with the earth-shatteringly simple vocal at the core.

To be honest, I preferred the bare simplicity of the live version, just because it sounded like nothing more than Radiohead stripped down to a naked core. Just a sad voice and a guitar, somewow capturing a sort of desperate and unclear optimism, smothered by angst, but still always there.

It Will End In Tears is taken from Philip Selway’s forthcoming solo album, “Weatherhouse”. The video is Directed by Rammatik. Philip Selway performed at Queen Elizabeth Hall which was a beautiful show.
I know first-hand how hard it is to come out to the front and sing when you’ve spent 20 years playing an instrument. It’s like learning to walk all over again but not just in front of two people who can help you up when you stumble, cos stumble you will.
Philip Selway tonight showed what he’s made of and how far he’s come and even after 6 shows, the potential of the 4-piece band he’s assembled was clear for all to see and hear.
Proud and mostly excited at what is yet to come for this sweetest of gentlemen. It’s so hard to get to that place where you find your “voice” but once you’re there, really the sky is the limit.

I’m so glad to see your solo career and ideas flowing in most intriguing directions. I’ve always been a fan of your work in Radiohead, but it’s cool to see this side of your mind.