Radiohead - The King of Limbs, a review

I can vaguely recall a time when I would have said "I hate Radiohead". I was young, I was foolish, I lived off the radio. Today I'm still a bit of a middle-of-the-road fan. I love The Bends and OK Computer, but consider Kid A a bit patchy and haven't had much time for anything else.

So this is the first time I've looked forward to a new release from the band. And my initial impression is that I've picked up a Thom Yorke solo record. Of course always the main focal point of their music with his signature emotive vocal deliveries, there's something very personal about this record that I can't place my finger on. Perhaps it's the quietness of the record; there're no opportunities for air guitars here.

There are strange piano loops and an unusual drum rhythm to kick us off in 'Bloom' which is possibly the most signature of the album to their usual sound. Some have said it reminds them of '15 Step'. Synths soar in overhead like cacophonic violins, swirl around like birds (aided by chirps, it has to be said) and it has an extremely dizzying, blissful vibe. 'Morning Mr Magpie' plucks away at guitars over another disjointed drumbeat giving it a slight Foals feel (though thankfully with a less hateable lead singer).



Slightly Californian influences take form in 'Little By Little' with a bassline and jingling that would leave any stoner dude speechless and drooling. This continues into 'Feral', only with a more primal-sounding drum rhythm. Echoing vocals allude to a new style of scat-jazz, persisting without ever really making sense but that's part of the charm, leaving you simultaneously wary and content.

Yorke's vocals take their most prominent form in the single 'Lotus Flower', regaling "I'll set you free" over a heavily trip-hop backdrop, reminiscent of Blue Lines-era Massive Attack. However, there's undeniable beauty about 'Codex', an early-on fan favourite with ambient, haunting piano melodics, sparse but carefully crafted synths and almost whalesong-like vocals proving one of their most effortless beauties since 'Pyramid Song'.



"Don't hurt me" is rasped in 'Give Up the Ghost', with a change of musical scenery heralding in a folkier, acoustic vibe. The album closes with 'Separator', a track that blends their 90s and 00s contrasting sounds rather bizarrely, with twinkling guitar riffs piquing serenely over a persistent and somewhat disruptive (indeed, it could and should be scrapped entirely) drum loop.

At 8 tracks and 37 minutes in total length this is a sign of the audience of our times. It might be cropped and minimalised to appease the increasingly lackadasial attention spans of the masses but it manages to entertain, mysticise and lure you into an unusual world, retaining their unrivalled knack for the ethereal and whilst it might lack an explorative edge, it's probably a wise release to make, finally perfecting their recent sound. What lies ahead is anybody's guess.

Rating: 8.5/10
Highlights: Codex, Separator, Bloom, Give Up The Ghost
Avoid n/a, though Morning Mr. Magpie is the weakest track.