Music Reviews
The King Of Limbs

Radiohead The King Of Limbs

(XL) Buy it from Insound Rating - 6/10

Announcing a new album on a Monday, setting the release date to Saturday and then bringing it forward to Friday – Radiohead sure know what they’re doing. On Friday 18th February, the internet was a tornado of activity with bloggers and journalists alike all desperate to be the first to hear and judge The King of Limbs. For Europeans, a hilarious afternoon followed with people waking up on the other side of the Atlantic, heading online and exclaiming, “Radiohead did WHAT?!”

It’s unlikely a band has ever been so good at promoting their output under their own steam, but there are two sides to this coin. Sales-wise, Radiohead couldn’t fail, but as for critical reception, they couldn’t win. The hype surrounding The King of Limbs – which the band were more than partially responsible for – had snowballed to such an extent that anything less than a genre-defining masterpiece would be seen as a disappointment.
 
So, now we’ve lived with the record for a while, we can see through the white noise that characterised the unleashing of the record and assess it in context properly. And you know what? It’s a disappointment.
 
Or, at least, it’s a disappointment coming from the band that brought us Kid A, In Rainbows et al, if not an outright bad record. While the willingness to go off-piste and experiment happily remains, Radiohead seem to be going through a fallow period for ideas.
 
The King of Limbs is very much a rhythm-driven album; skittering, off-kilter beats underpin the majority of the songs on show. While this is all very intriguing – as well as being the kind of thing most hugely popular and successful bands aren’t going to attempt in a hurry – it doesn’t always equate to “good”. Many of the cuts appear half-finished, as if the band have spent so much time and effort on the percussion that they’ve forgotten to write a proper song. Feral is the prime offender here, with snatches of chords and the odd vocal phrase, but little to actually enjoy.
 
However, Radiohead have never put out a terrible record and they’re not about to start now. They masterfully conjure an unsettling mood on Morning Mr. Magpie, leaving the listener constantly on edge, and the haunting theme also makes an appearance on opener, Bloom. Interestingly, the best song on the album is the most atypical of The King of Limbs sound: Codex. With most of the other tracks so sparse and drama-free, the warm, reverb-drenched piano of Codex is a revelation. Easily the most compelling and melodic cut on the record, the human, emotional side of the band really shines through.
 
Otherwise, it’s largely cerebral music to appreciate rather than adore; music for the head rather than for the heart or feet. Sadly, The King of Limbs – while a brave side-step – is a case of style over substance. It’s still superior to a lot of the material currently being released, but we know they’re better than this. They’ve enough goodwill in the bank for this to simply be a blip rather than a disaster, but with The King of Limbs, Radiohead have taken their eye off the ball.

Comments for The King Of Limbs review

Respectfully...

I find it a little weird to accuse this album of being music for the head rather than for the heart or feet, and then to call it style over substance. That is not an inherent contradiction, but the juxtaposition seems somewhat problematic to me because referring to it in its capacity to inspire thought makes one presume that it has substance. I would argue it has substance, and far more of it than In Rainbows did. It may lack the obvious emotional pull, but I think it is a musically and thematically deeper record, with more intelligent arrangements and depth of writing. I don't understand the criticism of it having no "proper songs" - do you approach this from an angle that tracks like Codex, Little by Little, Separator, and Give up the Ghost are stranger and less song-oriented than The National Anthem, Idioteque, Like Spinning Plates, or Packt Like Sardines? I don't see it. One thing we can agree on though - this is a brave record. Apparently that merits a lower score than a British record that is rehashing American alternative influences from the late 1980s. No, I don't mean Pablo Honey - I'm talking about Yuck.

For the record, I like Yuck too! :)

I see where you're coming from

and in retrospect, in seems odd to accuse it of being both cerebral and lacking in substance, but I stand by it.

It's "for the head" in as much as it's not really about emotion or drama, it's about the construction of the song, the layering of the track and how it's been crafted. However, it's also "style over substance" because - to my mind - while it appears cerebral (at least in comparison to music you "feel", i.e. for the heart or feet), there's actually less to it than meets the eye. It *seems* interesting, but once you've heard it a couple of times, it lacks depth in my opinion.

As for giving it a lower score than Yuck, well, there isn't a No Ripcord party line, and each reviewer gives an album the score he or she feels it deserves. I haven't heard the Yuck record, but just because it doesn't try to be ground-breaking (I think that's what you're saying about it), it doesn't mean it should get a lower score. A "brave" record is commendable, and gets you a few points when it comes to scoring a record, but it can only get you so far if the content isn't that inspiring.

Tired of the same old...

.... "they forgot to wirte proper songs" argument by now. I mean, I'd expect something like that from The Daily Telegraph, but not No Ripcord.... The likes of "Lotus Flower" or "Give up the Ghost" sound like very proper songs to me, and the fact that they happen to be simpler (in structure) songs doesn't make them any less beautiful ("GUTG") or catchy ("Lotus Flower"). And I'm only mentioning those two because they seem to be pretty obvious examples against that argument and you aren't even mentioning them.

I'm not saying this is their best record (there's some tough competition there) but personally I like it more than In Rainbows. I find the production of this one to be better, I prefer the less organic sound and the whole thing sounds like the band at their most natural. IR didn't always sound like that to me.

I don't think

that "proper songs" need a verse-chorus-bridge structure (though a few more choruses would have been appreciated on this record), but a lot of the stuff here sounds unfinished to me.

I agree about GUTG - that's one of the highlights - but can't get enthused about Lotus Flower. We might have to agree to disagree there.

Out of interest, I read the Daily Telegraph review of TKOL. The headline asks whether this is "Radiohead's most feminine album yet" and makes no mention of the rhythms - surely the most striking aspect of the record. They mentioned nothing about "forgetting to write proper songs"; it seems they quite liked it :)

yeah well...

I guess I didn't mean the Daily Telegraph itself but more like the usual 'we-want-tunes' reviews of newspapers.

I'm not sure if I ever get the 'unfinished' vibe here. I do sometimes get the 'bit too simple' vibe. "Separator" was debuted live by Thom Yorke about a year ago in Cambridge and at the time, with only an acoustic guitar, I thought it sounded somewhere between Neil Young and early Oasis. A pretty simple song, but I think it's nicely done on the album with its dreamy theme underlined. It doesn't feel unfinished to me though.

As a matter of fact, the simpliity of the compositions adds to the general air of lightness that the album exudes. This seems to have put a lot of people off, but after so many years of really intense stuff I don't really mind it.

The unfinished comments make

The unfinished comments make perfect sense to me. I got that vibe off a few tracks on In Rainbows, too. The impression one is left with is of hurried bits from a Pro Tools rig, of simple mood pieces rather than complete songs. The problem with this is the mood piece has to be devastatingly original and exciting for an album to be full of them, such as songs like "One of These Days" or "Careful With that Axe Eugene".

This is definitely "music for

This is definitely "music for the heart and feet" as well as the brain. Radiohead's problem is that they've always been about music for the brain-- that's how it worms its way into your heart. This is an album that is written from that special place, and after a while you start to realize how much food for thought there is to this album. Brilliant work, up there with Kid A and OKC as my favorite. I can understand why everyone is disappointed but I think everyone lets the album fall too short.

Thank you

For answering my comment. As for the Yuck record, it's fun to pretend that review sites are monolithic entities, but clearly they are not (I see it was a different reviewer). And of course you are right - a brave but uninspired record is nothing to be too pleased with...my dig at Yuck for not being groundbreaking was meant to be mildly facetious (see the Pablo Honey comparison). They're a fun little band; you should give them a shot, as long as you don't mind a whole lot of somewhat lightweight Dinosaur Jr (which I don't).

I understand why you stand by your comment about head music being style over substance - as I said before, it's merely an odd juxtaposition, rather than being inherently contradictory line of thinking. So fair enough. We'll agree to disagree on this album. I find it to be a pretty inspired batch of songs.

Some thoughts

I'll put myself on record as a dissenting voice on this because I happen to really like this record. Though we are not steeped in melody or classic structure here, they show themselves, as ever, to be masters of mood. And that's what this is - a mood record. It's so short I don't think there's a weak moment on it and while its not as compelling perhaps as some of In Rainbows, I'm hard pressed to point to any obvious weaknesses. All I know is I just like putting it on and letting it play, and that's good enough for me.

I have to agree with Joe Rivers

I feel that Joe is spot on. For all the buildup for this record, nothing short of a masterpiece would have sufficed in my opinion. If we are honest Radiohead fans, and take the emotion and bias out of it, we can clearly see that this album was a disappointment; not because it is a bad record, but because it does not astonish or inspire, its seems too preoccupied with style. Not enough gravy on the mashed potatoes. Good record, but is not what I expected from such a brilliant band.

Thanks!

I wouldn't want to push the "it's a bad record by their standards" line too much, because I think it's a disappointing record full stop, made more disappointing by the fact it's Radiohead, if that makes sense. Clearly, I don't think it's awful - 6/10 isn't a terrible score.

By the way, I'm completely stealing, "not enough gravy on the mashed potatoes," as a line in future!

This is a bad record. It's

This is a bad record. It's tuneless and boring. If it were any other band the reviews would be harsh rather than "OK guys, go get 'em next time".

build up? wha?

Perhaps my opinion about this record differs from the reviewer's in that I am a fairly oblivious person. The only build up I had concerning the existence of this record was an email I received a few days before it was released, asking me if I wanted to buy it. I said yes. A few days later I downloaded a nine dollar, 37 minute long album with 8 tracks, six of which i thoroughly enjoy, so I give it a 7.5. I'm simple like that.

I can understand those who say the album seems unfinished. It certainly isn't as polished as In Rainbows. Of course, I enjoyed the unfinished B-sides of that album more than most of the proper tracks, so perhaps I'm just a bit wonky.

I cannot understand people who think its a bad record. I didn't find it 'tuneless' and I found it far from boring (except for Little by Little, which sounds like something they forgot to put on their last album).

"tuneless and boring?" what?

"tuneless and boring?" what? have you been listening music thru apple's stock earbuds or what?

Er... no

No, I haven't. The only time I listen to music through Apple earphones is when it leaks out from what other people are listening to :(((

I think he was referring to

I think he was referring to the commenter above who described the album as tuneless and boring. I liked the line about Apple earphones.

Post new comment

The content of this field is kept private and will not be shown publicly.