Radiohead - Amnesiac
(Capitol)
Between Kid A and Amnesiac Radiohead has produced one great record and one
record of tedious junk (or "b-sides" and "outtakes" as they used to be called). Thank the
heavens that we live in the age of CD burners because that means we can create that great
record and not have to mess with the rest. Call it DJ Your Name Here's Kid Amnesiac Re-order.
This is not, of course, the return to form that it was rumored to be, which is probably
for the best. After the influence copping of Kid A, Radiohead can now grow into the
big new pants that they have made for themselves. The freaky-deaky stuff on this record is
much better than any songs on Kid A, and some is as good as anything they've ever
done. However, the pants don't quite fit yet, and the bad stuff is worse than the low
points of Kid A. Ironically, the worst tracks are those which stray back towards
the more conventional, time-tested Radiohead format.
Amnesiac really starts of strong. Tinny, cheap electro beats and warm, geeky
synths open up the record on "Packt Like Sardines In a Crushed Tim Box," and Thom
Yorke's vocals are back up in the front. They deftly mix the electronics with layers
of backwards processed guitar noise, and the strangely hyper vibe of the music (like
slackers on speed) sits nicely in contrast to the laconic yet terse vocal delivery.
Overall, the "pro" sound of this song, sets the tone for the rest of the record. The
whole thing has a muted, fuzzy, overproduced feel to it, which really works on the
songs dominated by electronics, but sucks the life out of the others.
"Pulk/Pull Revolving Door" is by far the best track on the record, and one of the best
and most far out songs Radiohead has ever put together. It's nearly purely electronic,
including York's manipulated vocals, comprised of distorted beats, static pulses, analog
synths, all swirling around unintelligible vocal bits. It's a breakthrough for the band
in terms of structure and texture, taking their new tools and making them their own.
Some other stuff is less successful. "Pyramid Song" is a bit of a mixed bag. It's a
melodic, piano driven piece that plods along at such a sub-dirge pace that it becomes
nearly unbearable as it slowly flows towards stasis. Fortunately after a couple of minutes
(which seem much longer), the drums and crazy mishmash background sounds get mixed in,
making the song a bit more interesting. "You and Whose Army?" is just a bit too far out,
with its soft woo-woo vocals and drippy guitar. It moves better than "Pyramid Song" but
suffers from the same flaw, a ponderous tone that goes nowhere. The biggest disappointment
has got to be the oft-fabled "Knives Out," which apparently was constructed over the span
of over a full year. To be fair, no song is so good as to require that kind of
tinkering (only Trent Reznor and J. Spaceman would think otherwise). Especially if
all you end up with is a fairly straightforward, Smiths-esque, guitar-driven number
that would have been eclipsed by any track off of OK Compter.
There is still a sense that Radiohead is consciously fighting against their instincts.
For instance, "Dollars & Cents" would have really benefited from a crisper production
and some guitars. Instead, by soaking the song in sappy strings, they undermine the
evocative power of Yorke's voice. Perhaps they've gone too far to return to elements
of their style that they have jettisoned. Far be it from me to begrudge any musician
from treading uncharted waters. They should, however, go all the way if they are going
to do it. Radiohead succeeds in having completely redone themselves only part way, only
occasionally. However, unlike after Kid A, when I was anxious to hear what was
next, now, after Amnesiac I am not so sure.
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