Radiohead - Amnesiac

Label: Parlophone
Catologue Number: CDFHEIT45101
Format: CD
Date: 2001
Style: Alternative Rock/ Electronica
Rating: 7/10
Reviewer: Sidney James

Radiohead's Kid A split fans and critics in half. One side embraced it more experimental approach, whilst the other side was shocked and disgusted that Radiohead had failed to delivery O.K Computer part two. One thing for sure those who were not taken in by Radiohead's new approach on Kid A and going to find very little on Amnesiac that will change their minds that Radiohead have completely lost the plot. Those who saw Kid A as a brave step into new territories where anything is sonically possible will embrace Amnesiac with open hands and minds.

The rumours surrounding Amnesiac were mainly centred on the fact that it was going to be the logical follow up to OK Computer with Radiohead switching the emphasis back towards a more guitar orientated sound. Kid A was seen by many as a hiccup and a means in which Radiohead would cleanse themselves of their experimental bent. I can now report that the rumours were misguiding as Amnesiac sees Radiohead continuing their journey into experimentation with only the smallest concessions to the sounds they produced on OK Computer. Guitars are scarce in their appearance with the concentration again placed on more electronic and computer generated sound.

Amnesiac begins with the sound of metallic percussion and a deep electronic bass line of 'Packt like Sardines in a crushd tin box'. These elements are soon met by a groundswell of electronics and minimal shredded guitar riffs, which surge around the tripping beats. The song initially comes across like a cacophony of uncontrolled discordance and a peculiar tonal melody. Thom Yorke's vocals however are clean of any processing a skate over the beats and electronic like the last lament of a fallen angel. The lyrics are centred on the simple repeated lines "I'm as reasonable man, Get off my case". A snide attack on those who have attacked Thom's alleged strangeness, perhaps? 'Packt' recalls the beats and melodies of Autechre and the Aphex Twin and works as a strange and compelling intro to the album.

Things become easier to place with recent single 'Pyramid Song'. The song is lead by a sombre piano and sweeping strings whilst Thom this time sings of "Black eyed angels". A strange off kilter beat is then added which adds a complex rhythmic flow to the song. The song is closer to Thom Yorke's
collaboration with Unkle on the track 'Rabbit in my headlights' than any previous Radiohead tracks. The song succeeds in being experimental and accessible at the same time, and it's easy to see why it was released as the first single from the album.

Time for stranger spelling again. Radiohead have definitely been reading the same book of strange words that most Warp artists seem to dip into. ‘Pulk/Pull revolving doors' also sounds like it should be on Warp as well. It begins with harsh Aphex Twin like beats and a weird alien sounding vocoded voice. Soon they are joined by tinny cut up jazzy electronics and piano. The song is an experiment in a kind of stark minimalism, with no real structure apart from the harsh industrial strength beats.

Just as you think, Radiohead have completely forgotten about guitars, 'You and whose army?' arrives sounding like a forgotten extract from the musical score of a David Lynch film. The song has been well reported as being an attack on Tony Blair and the Thom's lyrics confirm this with mentions of cronies and betrayal. The track itself has a strange jazzy blues atmosphere with Thom's dubbed out vocals meeting another sombre piano line and echoed drum rolls.

More guitars appear on the next track 'I might be wrong'. The song begins with electronic drones and rim shot hip-hop beats before the U2esqe guitars enter the affray along with a booming electronic bass. The strangest thing about the track is that the instruments and vocals sound like they are being played in separate rooms. Thom's vocals especially seem to be working on a separate level form the rest of the track. Somehow this separation seems to work and the various levels seem to blend into each other towards the end of the song.

Radiohead then decided to metamorphose their sound again with 'Knives out' which could be a long lost OK Computer number. The track is full of the chiming guitars that formed the basis of that album and will definitely acts a solace in the experimentation for those who prefer Radiohead's more straight forward approach. The track however stands out like a sore thumb in context with the rest of the album.

'Morning Bell/Amnesiac' has again it's roots in the Radiohead of OK Computer, but mixed with the more experimental side of Kid A. Piano and acoustic guitar are gently plucked and stroked, while a floating electronic refrain beckons in the background. The song is high of atmosphere but low on dynamic even Thom's call of "Release me" support the fact that the song is really going no where.

Things again mutate with 'Dollars and Cents' which sounds like a film score from a classic 60's/70'S spy movie. The song is lead by a throbbing bass line and a slow drum beat, on which lush orchestral sweeps soar over. The song builds to a high where all the instrumental elements build to a peak before falling away again, leaving only the gorgeous strings and beats.

Next track 'Hunting Bears' is highly forgettable in that it contains no more than wind blowing and a lone electric guitar sending out chord spasms. All a bit pointless, really.

Then it's back to the sound of new Radiohead again with 'Like Spinning plates'. Once more we have Warp style glitches and beats this time with added sucked backwards sounds (similar to The Beatles Tomorrow Never Knows) and a strange Kraftwerkian vocal loop. Thom’s vocals are massively distorted making any words unidentifiable. The over all effect is to create a very alien sounding ambience where electronic sweeps battle with a jittering rhythm.

The album closes with ’Life in a Glasshouse’ which sees Radiohead combining their take on electronica with 30’s style Jazz. The song builds from simple electronic pulses which are soon joined by a lone trumpet (courtesy of Humphrey Littlejohn) and then a whole laid back Jazz group. The song for me seems to be a modern update on the classic Jazz standard ‘Gloomy Sunday’ something that fit’s the Radiohead persona to a tee.

With Amnesiac, Radiohead have again pushed at the boundaries of what is expected from them. Amnesiac is an experimental album that proves that Radiohead are far away from their humble Indie beginnings. They’re now closer to bands such as Tortoise and Autechre than Shed 7 and Muse, which depending on your musical preferences is either a good or bad thing. One things is for certain if you didn’t like Kid A there’s nothing (apart from ’Knives out’ maybe) that will make you thing that Radiohead have disappeared up their own back sides. However if you want a challenging and rewarding listen than Amnesiac will be right up you street.