Album Review: Radiohead In Rainbows

It seems an eternity has passed since 2003's Hail to the Thief.
In many senses, an eternity has passed. Hail was Radiohead's last album under the band's obligation to Capitol Records, the end of a musical treasure trove consisting of six albums which just so happen to include OK Computer, Amnesiac and Kid A.

So once the need for deadlines passed, Radiohead decided to take its time in crafting its latest album, the relaxed, colorful and- should I say it? - optimistic songs that make up In Rainbows.

A huge amount has been said about the band's strategy in releasing their album to the public via its website, where fans could pay any amount they chose to download the album. Anywhere from one cent to one million dollars was acceptable, but one could assume a donation of around ten dollars would be considered a fair trade for the tunes.
Unsubstantiated reports suggest that within the first month of downloads, Radiohead's album shot past 1.2 million albums "sold" which is significant for many reasons, not the least of which is certainly this white-hot product is sending all money earned directly back to the band, rather than into some record label's pockets. Fans are happy, band is happy. Everybody wins.

But what about the album?

Ever since the release of 1997's OK Computer, Radiohead has been plagued by the public's demand for a second revolutionary album, (perhaps expecting the same vision and ground-breaking music making that the Beatles achieved.) All of their subsequent albums, while well-received and analyzed endlessly amongst musical circles, the greater listening public was waiting told of Radiohead's next great achievement.

Unfortunately for the faceless masses, this may be an album that never reaches them.

In Rainbows contains some of the most beautiful songs I've heard recently, however they are hardly ground-breaking in their technique or execution. Rather, it is a return to story-telling, inventive instrumental playing and cozy production, making an album best enjoyed through headphones rather than blasted through your home stereo.

The album's lead-off track, Down is the New Up is reminiscent of Radiohead's politically charged past, but rather than outrage and turmoil, (2+2=5) there is a certain anxious resignation. Other songs such as House of Cards start off with lyrics like "I don't want to be your friend. I just want to be your lover" suggest a far more tangible, cuddly Radiohead than we've ever seen. The time signature for this song is even in a standard 4-beat pattern, (as opposed to previous albums using 11/4 or 15/8.)

All in all, this is some of the most enjoyable, beautiful music I've heard recently. Its not the Radiohead we've known from the past, but like the album artwork, it's a more colorful, blurred vision of what lies ahead.