After five long and arduous years we have finally been graced with a new Radiohead album. As is the case with many other Radiohead fans, their previous LP left me somewhat underwhelmed. King of Limbs was cold, distant and far too atmospheric for its own good. Upon first listening to A Moon Shaped Pool I began to feel very much the same. However, as anyone who deems themselves an avid music enthusiast knows, the first listen usually isn’t worth shit. Personally I give no weight to my first go at an album, there is simply too much new information thrown at you and it’s utterly impossible to arrive at any worthwhile conclusion. Your first listen is really only getting your toes wet in preparation for the second listen.My very first impression was so eerily similar to the one I faced when listening to King of Limbs, I thought perhaps I was listening to some B sides off the very same album. I obsessed over what initially felt like a slow and unsatisfying sound which seemed to dominate my interaction with the album. This would ultimately prove to be false, as an entire layer was uncovered upon the subsequent re-listening of the record. This only proves that A Moon Shaped Pool is a grower, something which I can relate to some of my favorite releases, including OK Computer.
I will begin by underlining the immense role Jonny Greenwood’s composing plays on the creation of this album. His ability to form complex and detailed string melodies make A Moon Shaped Pool one of Radiohead’s most beautiful and heart-wrenching albums to date.The string sections on this album are present at almost every important shift on nearly every track on the listing. Whether it marks a triumphant sensation of acceptance or crushing anxiety, Jonny Greenwood’s masterful compositional abilities are there. “Numbers” is essentially a one-man show as Greenwood’s catchy piano riff lends an ingenious second beat to the faint percussion already present in the backround. As the song progresses, strings begin to sneak in sporadically, offering a kind of jazzy and improvised feel. Eventually the song swells to a perfect climax dominated by Greenwood’s all too familiar strings.To further cement his undeniable leading role in the conception of this album, “Burn the Witch”, the lead single, relies wholly on Greenwood. By utilizing a technique already discussed in my previous track review, Greenwood dictates the pace through organic percussion and the high points with soaring melodies. This composer has an undeniable gift, something we’ve seen shine on tracks like “How to Disappear Completely”, “Exit Music” and “Reckoner”. This gift is now at the forefront compositionally, and I couldn’t be happier.
One of my greatest hopes for this album would be its ability to blend the experimental side of Radiohead’s sound without losing its beauty and accessibility. A Moon Shaped Pool succeeded in commendable fashion, retaining some of the unsettling instrumentation first explored on Kid A with the angelic vocals and pleasant melodies found on In Rainbows. On several tracks we find a digitally rendered and extremely synthetic percussion akin to those on Kid A. Generally, these beats are soft and flat, lending more room for silky vocals, weeping guitar leads and grand string arrangements. A superb example of this is found on the seventh track “Identikit”. The beat is constant, giving the song a base rhythm without overpowering the track with its repetitive nature. The synthetic beat takes a back seat to one of Yorke’s most animated and nasal offerings to date. This song also features a short but terrific guitar solo along with unsettling atmospheric noise distortions. They are quite difficult to describe but give this track and others like “Daydream” a definite “edginess”. Simply put, this is Radiohead feeding its hunger for innovation and experimentation without losing us along the way.
Taken into context, the lyrics and the overarching theme of A Moon Shaped Pool are fraught with acceptance in the face of sadness. First introduced in OK Computer, Yorke’s complicated relationship with social anxiety is center stage once again. In their classic 1997 release, the band was delving into this theme with a confused anger.On this latest record, Yorke has come to terms with his social disorder and finds crippling sadness and a kind of contentment in this epiphany. What comes off as temerity is only mistaken for weary acceptance. It’s heartbreaking but it’s also grounded and therapeutic.First brought on in the third track “Decks Dark” Yorke finally admits that he cannot outrun his anxiety and paranoia.
“And in your life, there comes a darkness
And a spacecraft blocking out the sky
And there's nowhere to hide
You run to the back and you cover your ears
It's the loudest sound you've ever heard
In your darkest hour”
This intense sadness which is constantly revisited is understandable when one is aware of the context in which this album is made. This last summer proved to be a difficult one as Yorke separated from his partner of 23 years along with his two children. Alone, newly single and faced with the prospect of meeting new women, anxiety came crashing down on the front man with a newfound ferocity.“Daydream”, a lengthy piano ballad, is Yorke at his most vulnerable as he sings of his loss and loneliness. The most telling portion of this song comes in the final half as the same unintelligible lyrics are sung over and over again.
“Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH
Efil ym fo flaH”
When read backwards, “Half of my life” can be extracted. His previous relationship lasted 23 years, literally half of his 47 years. This clearly underlines to what extent Rachel Owen was an integral and massive part of his life. Yorke is perhaps longing to return to his previous life as he is struck with all the emotional distress separation can cause. Yorke wants one impossible thing, to rewind time.
Lastly, a track which could unfortunately be overlooked because of its shorter run-time packs an incredible emotional punch. “Glass Eyes” features distorted piano and weeping strings backed up by honest and pained lyrics sung by a tired and frightened Yorke. He is stepping off the train, afraid and untrusting of society and his surroundings. A full-on mental collapse is near as the vocals are heavy with approaching tears. If this were part of OK Computer’s track listing, the song would have inevitably reached an explosive end, raucous guitars and all. Instead, the string swell and swell only heightening the weight this track must bear.
“Hey it's me
I just got off the train
A frightening place
Their faces are concrete grey
And I'm wondering, should I turn around?
Buy another ticket
Panic is coming on strong
So cold, from the inside out
No great job, no message coming in
And you're so small
Glassy eyed light of day
Glassy eyed light of day”
This particular entry in the catalogue hits home as I am struck with a powerful image of our “homesick alien” introduced in OK Computer disembarking to go play another exhausted show.The rockumentary Meeting People is Easy documented the brutal touring the band faced after the release of OK Computer. The first scene always stuck with me, a deserted station is peeling by as the camera peers from the window of a passing metro. Immediately upon hearing Yorke speak of getting off a train, I envision him stepping down unto the platform, alone, cold and afraid.
As it is still an extremely new release I have not yet been able to place this album within my personal hierarchy of Radiohead LP’s. What I can say is that my expectations were met and my fears of another “meh” record were alleviated. This is certainly a softer more intimate album. Those of you who are new to the band will most likely be underwhelmed while those of you who are more familiar with Radiohead will undoubtedly be more than satisfied. As I’ve said before, A Moon Shaped Pool requires quite a few listens for it to really grow and take definite shape. However, once it does, you will be astounded at the depth and emotional complexity. This album also marks an exciting shift for Radiohead as it demonstrates the band’s move towards a more orchestral and subtle style. This is a great listen and rivals In Rainbows, and that’s all I could really ask from Radiohead.It’s safe to say Radiohead didn’t even come close to releasing a “Let Down”, shitty pun intended.
