Radiohead's "In Rainbows": All Method, No Madness

(In case you've been living under a rock, it goes like this; on Oct. 1, Radiohead announced that their new album would be out Oct. 10. Exclusively online until its proper CD release in January, geeks like us can go to inrainbows.com and order a download for "it's up to you". Which essentially means that, one British pound service charge notwithstanding, they're giving it away unless you really want to pay for it. Cool idea? Absolutely. Harbinger of the music industry's future? Not bloody likely. People haven't bought music in years. Regardless, I gave them 2 pounds for being swell guys, and pulled this baby down at the first sign of an activation link. Then, I listened to it about twenty times. Which brings us here.)

**1/2
When it was announced that the new Radiohead album would be rush-released online with a mere 10 days notice, the internets were abuzz with the implications of such a bold move. Surely, the music world itself would be turned on its head by such an unprecedented act. After all, this was the groundbreaking Radiohead, the most forward thinking of bands. They would set the standard for the industry, just as they had ten years ago when OK Computer debuted at #1 on the Billboard charts, proving you needn't sacrifice your soul to have a hit record. Well, we all know that OK Computer pretty much changed the face of modern rock, for better or for worse. And, what did they do for an encore? The electronica-infused, difficult, sprawling Kid A. Clearly, Radiohead is a band that has long thrived on the element of surprise. They built up a rabid fan base throughout the 90's only as much on the strength of their musical talents as the feeling that with these guys, you never really knew what was coming next.

In this respect, In Rainbows is a colossal disappointment. Over four years have passed since their last LP, the sneering and raucous Hail to the Thief. And yet, on In Rainbows, there isn't much progression to speak of. In fact, it sounds even closer to its predecessor than Amnesiac did to Kid A, and those two albums were recorded during the same sessions. To be fair, there are differences; Thom Yorke's lyrics seem more personal, and less political. That, and the guitars that roared back with a vengeance on Hail to the Thief are still here, but have been subdued significantly, in favour of more atmospheric, sparser melodies.

Shockingly enough, In Rainbows actually sounds like a step back for Radiohead. It's been mentioned that the idea was to get back to the experimental tendencies that dominated Kid A. After a few listens to the record, it saddens me to say that they almost got there, but got stuck at Amnesiac, easily the weakest album in Radiohead's canon outside of Pablo Honey. And it really is a let down (no pun intended) to hear album closer "Videotape", a dirgy, stuttery piano pop song, then compare it to its far superior Amnesiac cousin "Pyramid Song". Or "Nude", a song they've been sitting on and retooling for over ten years. Listening to it here, one gets the feeling that it would have been a great addition to The Bends or OK Computer. On this album, though, it just sounds tired and given up on.

I shouldn't spend too much time dwelling on the negative because, the band's back catalogue notwithstanding, In Rainbows is not a bad record. The opening one-two punch of "15 Step" and "Bodysnatchers" is thrilling, with the former being a jazzy electro-stomper and the latter a visceral, loud juggernaut, the guitars killing everything in their paths. Think of it as "The National Anthem" all coked up and violently out of control. "All I Need", with its lazy beat and sinister keyboards, works both as a love song and a psychotic episode, much like OK Computer's "Climbing Up the Walls". Then, there's "Jigsaw Falling into Place", a quick little number that comes off like the less menacing little brother of "2+2=5", the undisputed masterpiece on Hail to the Thief.

Herein lies the problem on In Rainbows. Virtually every one of the album's finest moments is great partly because of its similarity to one of their other albums' finest moments. There's no grand stylistic detours here to shock you(see "Paranoid Android", "Everything in its Right Place", "We Suck Young Blood", etc.); it's the safest record Radiohead has ever made. Which, in a very strange way, also makes it the most shocking.

Album Review: Wintersleep - Welcome to the Night Sky


****1/2

I'll be honest; I was late coming to the Wintersleep party. Even though they're an east coast band (and I've long been a proud supporter of Maritime talent), I just never got into them for one reason or another. I think the lack of exposure from their debut album, coupled with the fact that the first song I'd heard from them was the decent enough but ultimately underwhelming "Faithful Guide", was what had kept me away.

However, all that changed last year, when I heard "Jaws of Life". The song, combined with its jaw-dropping video, got me intrigued. More music and videos on their website got me hooked. And, after going back and listening repeatedly to both albums, I was fully convinced that Wintersleep was a great Maritime band.

With Welcome to the Night Sky, their third release, the word "Maritime" need not be used in the above statement, other than describing this album as the best album ever put to wax by a Maritime band, as it very well may be.

Those expecting this album to sound akin to the first pair will be utterly and completely bewildered by Welcome to the Night Sky. To say that this is Wintersleep's fiercest, most forceful material would be a gross understatement. This album also sees Wintersleep absolutely fearless in their willingness to try new sounds. In this respect, it's almost difficult to believe at times that it's actually Wintersleep who's performing the music. From the energetic, ferocious "Drunk on Aluminum" to the bouncy sing-along romp "Weighty Ghost" to the atmospheric jazz rock turned post-punk of closer "Miasmal Smoke & the Yellow Bellied Freaks", it's crystal clear that this is not going to be a typical Wintersleep record.

Familiarities emerge from time to time, most notably on the sombre, hypnotic "Search Party", as close to a guaranteed pleaser to fans as is likely to be found on this album. On most of the album's ten tracks, however, caution is thrown to the wind, experimentation is rampant, and the guitars run wild.

And it's likely that Welcome to the Night Sky would be a career killing flop, if not for the songs. On first listen, it's kind of disarming to hear Wintersleep rock so hard, and it's not difficult to spend the 45 minutes in disbelief and wonder. With a couple of repeat visits, however, you realize just how strong the songwriting is on this album. Musically, as diverse as it is, as many weird noises lurk in the background, hooks are everywhere. Prime example is "Archaeologists", a fiery indie rocker with electronic swooshes, eerie vocal melodies, and who knows what else floating behind its wall of noise and instantly memorable "belly of a whale" callout. And it's flat out phenomenal in its catchiness.

Overall, this is an album that can be a little difficult to embrace if you're a fan of Wintersleep's other albums. But, the songs are just too good not to give in to after repeated listenings. Expectations were high for Wintersleep after their last release brought them to the threshold of national recognition. Now, with Welcome to the Night Sky, they've obliterated expectations. This is a thrilling, stunning tsunami of a record, and one that proves that anyone foolish enough to underestimate the talent of a Maritime rock band deserves to writhe in its wake. With this bold, uncompromising record, Wintersleep has ascended to legendary status in my books. Welcome to the Night Sky isn't just recommended; it's the new front runner for Album of the Year, and could be a contender for best of the last five.

Album Review: Eddie Vedder - Into the Wild OST


Serving not only as the soundtrack to the upcoming Sean Penn-directed flick, Into the Wild is also technically Eddie Vedder's first full album sans Pearl Jam. Which is how it's being marketed, hence the big block letters that spell out EDDIE VEDDER on the cover. As such, I was very intrigued by how Eddie would handle this. Would it be a wall-to-wall folkfest, like most of his previous solo performances? Would we be graced once again with the soothing yet somewhat disarming pluck of his ukelele? Would he restrain himself from giving us a classic for the sake of keeping fame to a minimum?


The short answer to all of these questions is "yes". And by short, I mean short. As in, 33 minutes and change, including the 2 minute gap after "Guaranteed" and the 2-1/2 minute hidden track (in essence, a hummed version of "Guaranteed", the track you just listened to a couple of minutes prior). All told, Into the Wild feels like an album only because it is, for all intents and purposes, a wall-to-wall folkfest. Since the overall tone of the disc is very, very sombre, tracks that are three minutes long tend to feel more like five. Or perhaps the three minute tracks feel so long because they're Dream Theater opuses compared to the opening trio of "Setting Forth", "No Ceiling" and "Far Behind", three stellar tracks that clock in at a combined 5:26. "No Ceiling" is frustrating in particular; its dirgy bluegrass really gets going by the second chorus, only to be abruptly halted at the 90 second mark. A little bridge and one more chorus would have at least pushed it over the two minute mark and given the song a feeling of completion, rather than the sudden stop Vedder gives it. Listening to the song is at once exhilarating and baffling as you imagine Eddie bailing on the song before it's over for fear of it becoming a country crossover smash. It's no wonder the song is immediately followed by "Far Behind", easily the most rocking song on the set (not to mention one with a proper ending).

All qualms aside, Into the Wild is still a fine record. "Hard Sun" is a full, lush and justice-doing cover of the late-eighties minor hit by Indio (Cancon, bitches!). The pair of instrumentals are powerful enough on their own, but you know they'll go to a whole other level on film. "Rise" and "Guaranteed" are Eddie's best folk songs yet. The set as a whole, low-key as it is, feels like a perfect companion to Sean Penn's film. And therein lies the problem. What could have (and, in my opinion, should have) been a formidable standalone album instead feels only like what it is; a soundtrack. Some songs (especially the short ones) feel as though they were written with only the scene in mind, with no attention given to flushing out the songs themselves. What could have been a grand statement in sound becomes a mere accompaniment to a grand statement on screen.

It's likely been predetermined this way; Vedder has been known to sabotage potential hits in the interest of staying away from the spotlight, and it's likely the intent here is to draw attention to Sean Penn's movie and the McCandless story, rather than his music. Just the same, I had hoped for a fuller, more focused, and longer effort than I got, and I can understand anger from anyone who put down $20 for under a half hour of music. As a Ten Club member, it truly pains me to talk about Eddie this way. But, try as I might to love this album, I simply cannot do better than like it.
**1/2

Rock Is For Your Eyes!

Been a while since I clogged up the screen and made your page loading choppy with some videos. I'd say we need to rectify this now.

Serj Tankian: The Unthinking Majority

Seeing as how the System of a Down singer's last foray into non-SOAD music resulted in the organic/weird/trippy Serart, I had high hopes for Serj's first true solo album (Elect the Dead, out October 23rd). Which is why I was, at first, a little disappointed to hear the disc's first offering was so Systemish. Then, I reasoned with myself that we may never get another SOAD album, so I'd better take what I can get and shut the fuck up.



Against Me!: Thrash Unreal

There have been two schools of thought on Against Me!'s new disc, New Wave. First, take the punks' point of view. According to them, Against Me! are shit because they signed with a major label. Ergo, their music is shit now. Then, there's the voice of reason, that says a band with songs as good as this needs a major label to satisfy the demand of good rock music loving fans the world over. Besides, even if they hadn't signed with Sire, the punks would've turned their backs on Against Me! anyway. After all, "Thrash Unreal" is so good, New Wave is going to sell a shitload with or without support from the man. Now please, punks, shut your holes, save your breath. Go home and listen to your Minor Threat records, and leave us alone with the good bands.





Foo Fighters: The Pretender

Are the Foo Fighters irrelevant? Has Dave Grohl run his course? Didn't the acoustic half of In Your Honor suck choda? Before you answer the first two questions (because there's no doubt on the third), I suggest you watch this video, and see what the Foos have planned for their self-described Steely Dan (?!) influenced sixth LP, September 25th's Echoes, Silence, Patience & Grace. Then, we'll know if Grohl & friends have still got the nuts, or if they've just been reelin' in the years. Fuck, what a lame pun. Can I take that back?



As a special bonus for sitting through those videos (or for scrolling to the bottom of the post, enjoy this super bloody red band trailer for the new Alien vs. Predator flick. For anyone worried about a repeat of the PG-13 dumbed down flufftacular of the first movie, rejoice! We're taking the franchises back, motherfucker! Enjoy this shit before 20th Century Fox yanks it off YouTube.

Random Jank Video: Who's Thirsty?

There are words for these. I laughed so hard I forgot them all. Enjoy.