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Category Archives: NEW MUSIC REVIEWS

Albums of the Year 2016

landscape-1460379180-hbz-kanye-famous

*Best of 2016*

10) Porches
Pool
[Domino]

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09) Chance the Rapper
Coloring Book
[self-released]

228ad793500b01b625200c20ab761d85

08) Bon Iver
22, A Million
[Jagjaguwar]

fd8402f9

07) Animal Collective
Painting With
[Domino]

animal-collective-painting-with

06) Young Thug
JEFFERY
[Atlantic/300 Entertainment]

jeffery_young_thug

05) Blood Orange
Freetown Sound
[Domino]

kjakmtr

04) Danny Brown
Atrocity Exhibition
[Warp]

atrocityexhibition

03) David Bowie

[ISO/RCA/Columbia/Sony]

blackstar-cd

02) Solange
A Seat at the Table
[Saint/Columbia]

solange_cover-1475240092

01) Kanye West
The Life of Pablo
[Def Jam/GOOD]

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Here is a list of my twenty favorite songs from 2016. These are listed in alphabetical order and has been limited to one track per artist.

Blood Orange – Best To You (Feat. Empress Of)
Bon Iver – 1 0 d E A T h B R E a s T
Cass McCombs – Bum Bum Bum
Chance the Rapper – Smoke Break (Feat. Future)
Danny L Harle – Supernatural (Feat. Carly Rae Jepsen)
David Bowie – Lazarus
Deakin – Golden Chords
DJ Diamond – Lab 2 This
Frank Ocean – Nikes
Kanye West – Real Friends
Kero Kero Bonito – Trampoline
KING – The Greatest
M.I.A. – Survivor
Nick Cave & the Bad Seeds – Need You
Pusha T – Got Em Covered (Feat. Ab-Liva)
Radiohead – Ful Stop
Rae Sremmurd – Black Beatles (Feat. Gucci Mane)
Rihanna – Work (Feat. Drake)
The Weeknd – Starboy (Feat. Daft Punk)
William Tyler – Gone Clear

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2015: Albums of the Year

tameimpala2015

*Best of 2015*

10) Panda Bear
Panda Bear Meets The Grim Reaper
[Domino]

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09) Carly Rae Jepsen
Emotion
[Interscope]

CRJ_Emotion-(USdeluxe-album-cover)_lr_0

08) Lower Dens
Escape From Evil
[Ribbon Music]

Lower_Dens_-_Escape_From_Evil

07) Neon Indian
VEGA INTL. Night School
[Mom+Pop]

cover_night_school

06) Beach House
Depression Cherry / Thank Your Lucky Stars
[Sub Pop]

beach-house-depresssion-cherry-album1
a1005992513_10

05) Future
DS2
[Epic/Free Bandz]

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04) Deerhunter
Fading Frontier
[4AD]

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03) Kendrick Lamar
To Pimp a Butterfly
[Top Dawg/Aftermath/Interscope]

ToPimpAButterfly.0

02) Vince Staples
Summertime ’06
[Def Jam]

vince-staples-summertime06_zd5ztj

01) Tame Impala
Currents
[Interscope]

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Here is a list of my twenty-five favorite songs from 2015. These are listed in alphabetical order and has been limited to one track per artist.

Beach House – Elegy to the Void
Carly Rae Jepsen – I Really Like You
Courtney Barnett – Depreston
Deerhunter – Breaker
Drake – Hotline Bling
easyFun – Laplander
f(x) – 4 Walls
Galcher Lustwerk – I Neva Seen
Grimes – Realiti
James Ferraro – Skid Row
Jamie xx – I Know There’s Gonna Be (Good Times) (Feat. Young Thug & Popcaan)
Jason Derulo – Want to Want Me
Julia Holter – Feel You
Justin Bieber – What Do You Mean?
Kanye West – All Day
Kelela – Rewind
Kendrick Lamar – King Kunta
Kurt Vile – Pretty Pimpin
Mac DeMarco – I’ve Been Waiting For Her
Miguel – Coffee
Tame Impala – The Less I Know The Better
Tate Kobang – Bank Rolls (Remix)
Vince Staples – Norf Norf
The Weeknd – As You Are
Young Thug – Constantly Hating (Feat. Birdman)

2014: Albums of the Year
Ariel Pink

*Best of 2014*

05) Eno/Hyde
High Life
[Warp]
Eno/Hyde

04) Spoon
They Want My Soul
[Loma Vista]
Spoon

03) Aphex Twin
Syro
[Warp]
Syro

02) Future
Honest
[Epic/Free Bandz/A1]
Future

01) Ariel Pink
Pom Pom
[4AD]
Ariel Pink

Here is a list of my favorite songs from 2014. These are listed in alphabetical order.

18+ – All The Time
Ariana Grande – Problem (Feat. Iggy Azalea)
Ariel Pink – Lipstick
Aphex Twin – Circlont6a [141.98] (syrobonkus mix)
Avey Tare’s Slasher Flicks – Little Fang
Bobby Shmurda – Hot Nigga
D’Angelo & The Vanguard – Sugah Daddy
Death Grips – Have a Sad Cum
Eno/Hyde – DBF
Future – Benz Friendz (Whatchutola) (Feat. Andre 3000)
Future Islands – Seasons (Waiting On You)
ilovemakonnen – Club Goin’ Up On A Tuesday (Feat. Drake)
Mac DeMarco – Passing Out Pieces
Migos – Fight Night
Panda Bear – Mr. Noah
Pure X – Valley of Tears
Real Estate – Crime
Spoon – Do You
Taylor Swift – Shake It Off
The War On Drugs – Red Eyes

2013: Albums of the Year
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*Best of 2013*

10) Chief Keef
Almighty So
[Self-Released]
Chief Keef

09) Pusha T
My Name Is My Name
[Def Jam/GOOD Music]
Pusha T

08) Factory Floor
Factory Floor
[DFA]
Factory Floor

07) Arca
&&&&&
[Hippos in Tanks]
Arca

06) Deerhunter
Monomania
[4AD]
Deerhunter

05) Autre Ne Veut
Anxiety
[Software]
Autre Ne Veut

04) Oneohtrix Point Never
R Plus 7
[Warp]
Oneohtrix Point Never

03) Death Grips
Government Plates
[Self-Released]
Death Grips

02) Kanye West
Yeezus
[Def Jam]
Kanye West

01) Arcade Fire
Reflektor
[Merge]
Arcade Fire

Here is a list of my favorite songs from 2013. These are listed in alphabetical order.

Autre Ne Veut – Play by Play
A$AP Ferg – Shabba (Feat. A$AP Rocky)
Arcade Fire – Afterlife
Chief Keef – Salty
Daft Punk – Doin’ It Right (Feat. Panda Bear)
David Bowie – Where Are We Now?
Deerhunter – Sleepwalking
Dirty Beaches – Casino Lisboa
Drake – Hold On, We’re Going Home (Feat. Majid Jordan)
Ducktails – The Flower Lane
Haim – If I Could Change Your Mind
Kanye West – New Slaves
The Knife – A Tooth For An Eye
My Bloody Valentine – Only Tomorrow
Pusha T – Suicide (Feat. Ab-Liva)
Rhye – Open
Robin Thicke – Blurred Lines (Feat. T.I. & Pharrell)
Signor Benedick the Moor – All Revere (le narrateur)
Volcano Choir – Comrade
2 Chainz – Feds Watching (Feat. Pharrell)

2012 Albums of the Year

Frank Ocean

*Best of 2012*

10) Grimes
Visions
[4AD]
Visions

09) James Ferraro
Sushi
[Hippos in Tanks]
Sushi

08) Dirty Projectors
Swing Lo Magellan
[Domino]
Swing Lo Magellan

07) Dean Blunt
The Narcissist II
[Self-released/World Music Group/Hippos in Tanks]
The Narcissist II

06) BEBETUNE$
inhale C-4 $$$$$
[Self-released]
inhale C-4 $$$$$

05) Wild Nothing
Nocturne
[Captured Tracks]
Nocturne

04) Death Grips
The Money Store
[Epic]
The Money Store

03) Kendrick Lamar
good kid, m.A.A.d. city
[Top Dawg/Aftermath/Interscope]
good kid, m.A.A.d city

02) Lotus Plaza
Spooky Action at a Distance
[Kranky]
Spooky Action at a Distance

01) Frank Ocean
Channel Orange
[Def Jam]
Channel Orange

Here is a list of my favorite songs from 2012. These are listed in alphabetical order.

Andy Stott – Numb
Austin Cesear – Cloud Hall
Beach House – Myth
Bear in Heaven – Sinful Nature
BEBETUNE$ – M A D N E $ $
Bob Dylan – Narrow Way
Dan Deacon – Lots
Death Grips – Hacker
Dirty Projectors – Dance for You
Farrah Abraham – After Prom
Frank Ocean – Bad Religion
Gary War – Superlifer
Grimes – Oblivion
James Ferraro – SO N2U
Jessie Ware – Running
Kendrick Lamar – Backseat Freestyle
Lotus Plaza – Monoliths
Lower Dens – Brains
Wild Nothing – Paradise
情報デスクVIRTUAL – iMYSTIQUE エジプト航空「EDU」

2011 Albums of the Year

John Maus

I’m not a great blogger that is for sure. The start of the year witnessed my streak of blog posts and reviews, until summer came and my time and resources went elsewhere. Now, at this year’s end I am back to give you my input of 2011 in music:

2011 was a fruitful year, although this year lacked a definitive “best” album (like last year’s My Beautiful Dark Twisted Fantasy) it featured numerous quality releases. The list I’m writing for you here was limited to just ten, leading me to leave several albums I found great off of this list. Trends that began in past years continued, specifically the small-imprint trend, growing in quality and quantity. The exodus from bedroom to studio has continued from bands in the independent music scene, few artists are releasing anything that sounds like it came from modest production efforts. Listen to the production in albums like Bon Iver or Father, Son, Holy Ghost, they’re deep, round, and spacious. Yet on another hand, artists are still borrowing sounds of the past and re-appropriating them as their own, although now in ways that blur the past and the present. An example would be John Maus’ release; We Must Become the Pitiless Censors of Ourselves, this album sounds natively 80s, but, is it really? Despite synthesizers turned all the way up, nothing in the 80s could be related without argument. Better yet is Daniel Lopatin’s Oneohtrix Point Never project, in his latest album, Replica, he samples 1980-90s daytime/late-night television commercials (which sounds like) straight from VHS. The final result is a creation that romanticizes one’s feeling of nostalgia.

Here are my top albums of 2011…

*Best of 2011*

10) Girls
Father, Son, Holy Ghost
[True Panther Sounds]
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09) Drake
Take Care
[Cash Money]
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08) Shabazz Palaces
Black Up
[Sub Pop]
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07) Bon Iver
Bon Iver
[Jagjaguwar/4AD]
Bon-Iver-Album-Cover

06) Gang Gang Dance
Eye Contact
[4AD]
bg3

05) Atlas Sound
Parallax
[4AD]
alb_Atlas-Sound_full

04) Destroyer
Kaputt
[Merge]
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03) Future Islands
On the Water
[Thrill Jockey]
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02) Oneohtrix Point Never
Replica
[Software/Mexican Summer]
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01) John Maus
We Must Become the Pitiless Censors of Ourselves
[Ribbon Music]
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Here is a list of my twenty favorite songs from 2011. These are listed in alphabetical order.

A Winged Victory for the Sullen – Steep Hills of Vicodin Tears
Atlas Sound – Te Amo
Cass McCombs – County Line
Death Grips – Guillotine
Destroyer – Blue Eyes
DJ Diamond – Horns
Drake – Doing It Wrong
Ford & Lopatin – Too Much MIDI (Please Forgive Me)
Gang Gang Dance – Glass Jar
Girls – Alex
Jay-Z / Kanye West – Otis
John Maus – Hey Moon
Kids on a Crime Spree – Trumpets of Death
Lana Del Rey – Born To Die
Laura Marling – Sophia
Nicki Minaj – Super Bass
Oneohtrix Point Never – Up
Thee Oh Sees – The Dream
Tom Waits – Bad as Luce
2 Chainz – Spend It (Remix) (Feat. T.I.)

Eye ContactApropos that Gang Gang Dance start their latest album with the words “I can hear everything/It’s everything time.” Eye Contact, Gang Gang Dance’s first album released on 4AD, sounds just like that, a collection of influences and genres strung together to create a weird, exciting, and otherworldly headphones album. Perhaps I wanted Tomboy to sound thusly, but, Gang Gang Dance, who have been around for the better half of a decade, now just put together the best album in their catalog. There hasn’t been a release yet this year that sounds so much like the current times while borrowing so much from previous decades.

The album opener “Glass Jar” is enough in itself to create an EP. This 11-minute epic starts slowly, perhaps like a space shuttle with its engine firing, then near the 5-minute mark it blasts through the atmosphere to not return. Arpeggioed keys augment an emphatic bass bump, which has been used to a strong effect at their live performances, is first heard here on one of their studio albums. The tone that is set from this first track does not let up throughout the rest of the album. Although there are intermittently and exquisitely placed interludes, any track with a written title (essentially, I do not want to take aback the interludes) has areas to explore, to dance to, or to just let wash over you in the sun or under the stars. Perhaps the latter is befitting for Eye Contact.

Liz Bougatsos’ voice sounds better than ever on this album as well. Her gentle coos from Saint Dymphna are still here but on other tracks it’s distorted in ways we haven’t heard. “Chinese High” is a song that sounds like Kate Bush and it features guitarist Tim Koh, from Ariel Pink’s Haunted Graffiti. His reverberated guitar, plus Bougatsos’ childlike voice, and a pop-song structure allows it to be the most accessible track. “MindKilla” follows “Chinese High” and it is more dance floor-ready than even “Glass Jar.” It has enough 808s, synths, bass beats, horns and alarms, a fucking lullaby, and exasperations. To elaborate more on these two songs, on the LP version of the album these tracks are the only two on side 2 (of 3). They play just like a single would, let’s say that “Chinese High” would be the A-side and “MindKilla” as its B-side. These two tracks aren’t just standout tracks on this album; they are standout tracks for this year.

The album’s final side starts with the second interlude, “∞∞,” this brings the listener down from the serotonin-overloaded “MindKilla.” It is perfectly placed because “Romance Layers” has the laid-back duet of Hot Chip’s Alexis Taylor and Liz Bougatsos exchanging melodies amidst keyboard chimes and electric guitars. Later is “∞∞∞” which forebodes the album finale. Gurgling water, the refrain of “I’m so high/Can’t seem to find my way” plus the raising tempo of a tribal drum beat leads to “Thru and Thru.” An Arabian melody that is segmented with a voice sample yell, followed by a tribal percussion beat that leads into, for a lack of me not knowing what to call it, a muezzin’s call.

Eye Contact is an extraterrestrial re-imagination of genres and influences we didn’t know could be re-appropriated in such a manner. Although their previous albums were certainly weird, Eye Contact remains accessible, but not enough to steer away fans from Saint Dymphna or God’s Money.

(Reviewer’s Score 4.2/5)

TomboyPanda Bear’s heavily hyped fourth album, Tomboy, is released and it lives up to expectations, although ultimately with reservations. Preceded by four singles that were released on four different labels and by the instantly-classic Person Pitch album, Panda Bear’s latest continues the creative streak that the Animal Collective members have been on for over five years. Meme-generating terms such as “post-Merriweather Post Pavilion” and “post-Person Pitch” have littered the internet inasmuch as defining new bands’ sound (for the record: chillwave is analogous with “post-Person Pitch“), so it could be said without hesitation that Tomboy was expected to be yet another game-changing album from Animal Collective’s most-visible band member.

Tomboy was recorded in a basement in Benfica, Portugal. In that respect one can understand the, let’s call it, dimmed-colors present here, at least compared to Person Pitch. The tracks “Drone,” “Slow Motion,” or the ambient “Scheherazade” exhibit ghostly vocals and other elements that evoke cool feelings. But, the entire album can’t be classified thusly. “Surfer’s Hymn” is the best example of a track that sounds the most like “old” Panda Bear, this track also sounds much better on the album than the single-version that released a few weeks before. The single-version of this track had a pitch-shifted vocal that I thought ruined everything. And, “Surfer’s Hymn” does sound contrived at the start, but Noah Lennox (who is Panda Bear) pulls it together into a cohesive, single-worthy (which it is) track.

The production here is commendable. Tomboy was originally planned to have been mixed by Animal Collective members Avey Tare and Deakin, but instead it was mixed by Spaceman 3 member Sonic Boom. The news that this album changed mixing personnel came late in this album’s gestation period, two of the album’s singles had already been released when this was said to be. Did this decision create the hushed-euphoric elements? I can’t say, but I will say that it didn’t harm this album any. Panda Bear has previously credited Beach Boys, and to be specific, Brian Wilson, as a source of inspiration for the music he creates. Several tracks on this album have beautiful harmonies, specifically the album-standout “Last Night at the Jetty,” which has a Beach Boys-style songwriting structure. Panda Bear is able to use his voice as an additional element in the music. Well, of course, but what I mean is that he uses it not unlike the way a guitar or percussion would be used. Specifically in “Last Night at the Jetty” during the breakdown of the repetitious “I know I know I know know I know I know I,” that speeds up the pace of the song. He does this again to great effect with that track’s b-side, “Drone.” Although, Panda Bear doesn’t do this to the same level of success that was displayed in Person Pitch. On that album, “Bros” and “Good Girl/Carrots” used avant-garde songwriting and production styles to alter pop music paradigms; unfortunately nothing on this album displays that kind of creative ingenuity. But, let’s not discredit the music on Tomboy, this album is superb. Another production element that owes a great deal to the themes in this album is the intonation of Panda Bear’s voice. His voice possesses an organ-like quality that makes the album feel otherworldly. The majority of the album is sung in the same intonation which keeps this sentiment present throughout.

Panda Bear noted in interviews that Tomboy would be guitar and rhythm-driven. The latter is correct, but only a few tracks use rhythm-guitar, one being the eponymous “Tomboy” track which is the album’s first high-point. Although the track is generally sparse, Panda Bear creates a great sense of depth with a minimal amount of ingredients. “Alsatian Darn” is noteworthy as well for its use of acoustic guitar and its handclaps, proving to potentially be the album’s most accessible track. Panda Bear could have instead said that the album does have a higher amount of singing than other Animal Collective albums, even on the ambient-style tracks.

As mentioned earlier, Animal Collective, and specifically here Panda Bear, continue to create abstract representations of pop music, but nothing on this album shouts “Eureka!” like Person Pitch had done. Tomboy is paced thoughtfully and showcases how music is often a production of the environment in which it was created; here it was a basement in the sun-washed city of Lisbon, Portugal. Last year, Avey Tare released his first solo album, Down There, as he was going through a divorce. That album was subdued and emotional, and despite its brevity, could be considered as the better release of these two records. Thankfully, sometimes the sun does shine through the reverb and the haze in Tomboy, and it’s OK if you go out to bathe in it.

(Reviewer’s Score: 3.8/5)

House of Ballons Who is the Weeknd? I’ve done research through several Google searches, music Web site hits, and an attempt searching on Wikipedia, and yet I still have no idea who is creating these chilly R&B cuts. The most that I have found is that The Weeknd is from Toronto, and I’m sure we’ll be learning much more about this project soon.

I have been very skeptical of this “indie-R&B” trend that has surfaced as of late. Among The Weeknd are its contemporaries in the likes of James Blake and How To Dress Well, and I have written those both off as over-hyped. But The Weeknd is less like them and more like Junior Boys or Fever Ray, especially in the ability to create dark, cold, and affecting tracks, and it is in that respect why I find The Weeknd more favorable. Another part of The Weeknd’s appeal is the mystery surrounding the origins of these eclectic and hollow, drugged-out tracks. I originally thought what perked my interest were the “indie-friendly” samples that are re-appropriated, Beach House’s “Gila” on “Loft Music” or the Siouxie and the Banshees cover of “Happy House” which is re-titled as this mixtape’s title track. But, that wasn’t it either; House of Balloons is simply brilliant, despite how much this release bleeds cross-over appeal.

The subject material of this mixtape is dark and narcissistic. Maybe we’re entering a post-My Beautiful Dark Twisted Fantasy pop music landscape, but House of Balloons has lyrics like “I’m living for the present/And the future don’t exist” followed by “What you doing in the bathroom? /It’s OK, we can do it in the living room/Only girls we fuck with seem to have twenty different pills in ’em.” All of it takes place in the envisioned world we would see in a Chanel or Gucci commercial, a world that thrives off of materialism and a world one would strive to reach at others’ cost. Although once you’re there you find that have nothing left but the beautiful girl who is leaving you for the next man.

The lyrics aren’t the only factor that creates these feelings, the music does it too. During the tracks “The Party & The After Party” and “The Morning” you can nearly see the skyscrapers outside the studio’s window. Further along in the mixtape, near the end of “Coming Down” the listener is left with a vocal loop of (what seems to be) a woman crying and the refrain of “Pick up your phone/I always want you when I’m coming down.” And then even later is the mixtape’s lowest and deepest crash which is the end of “Loft Music” that has everything stretched-out with feelings of melancholy. The production throughout is high-quality with subtle elements picked up at exactly the right spot and then left to drift away. The singer’s voice is in pitch with the myriad elements carved into these icy tracks. Each instrument is purposeful, be it the strum of bass, tap of a key, or the drop of a beat.

This self-released, free mixtape is certainly worth your time, especially if you’re into R&B or if you’re just getting into dubstep. The download is linked right here. As long as The Weeknd is able to keep creative freedom with future releases, as this project will undoubtedly be linked with a major-label in the future, this R&B meets underground dubstep trend will be fruitful. The production quality here is tight already and it will (or at least, should) only get better with more money behind it.

(Reviewer’s Score: 4.1/5)

The King of LimbsIn 2007, Radiohead released the album In Rainbows and it was met with much critical acclaim. It had a pioneering “pay-what-you-want” marketing scheme and it featured music that pushed the band forward from their experimental-leaning Kid A and OK Computer albums. Then, in the years between 2007 and 2011, the band essentially kept quiet. In late 2009 we were able to hear the song “These Are My Twisted Words” which was generally OK, perhaps sounding a little like a forgotten track from the same mindset that created In Rainbows. Rumors then began to circulate about Radiohead releasing an album in 2010 from interviews with Thom Yorke and Jonny Greenwood. This never came to be, but in February of 2011 Radiohead revealed that they were to release an album just a week after their announcement. This isn’t too surprising though as they did this same release-schedule with In Rainbows. Another thing that isn’t too surprising is that everyone began hyping the album to high expectations.

The King of Limbs is an album that sounds like a band just beginning to explore new territory, although ultimately it does retread steps taken in previous albums. It is more in-tune with Amnesiac or perhaps Kid A, but that doesn’t mean that great music isn’t to be heard here.

The album opens with “Bloom” and “Morning Mr. Magpie” and each sound chaotic, with the sense stemming from Jonny Greenwood’s quick electric guitar plucks and Phil Selway’s snare taps. On an early listen of the album I wrote them both off as sounding too similar, but with repeat-listens I was able to hear the exploratory electronic rhythms that set each track apart.

The third track of the album is “Little by Little” and it is probably the album’s best track. It continues with the chaotic soundscape from the preceding tracks, but an acoustic guitar is brought in during the track’s chorus. As this track is written more like a pop song I feel that it can resonant more with the listener, instead of washing over them like “Bloom.” Thom Yorke’s famous falsetto and his ever-cryptic lyrics comment on the hardships associated with monotonous everyday life. “Obligations/Complications/Routines and schedules/A job that’s killing you.” “Feral” is the track that follows and it is the album’s only instrumental, which is actually uncommon for Radiohead. This is the track that has the band exploring new sounds, particularly UK dubstep as it has a huge sense of space, bass, and a vocal loop of Thom Yorke’s voice that picks up tempo to give the track an idea of urgency.

The second half of the album (or so I am to assume, since I don’t have a physical copy of this recording yet) starts with the most poppy song of the album, “Lotus Flower.” Before The King of Limbs was released this song was released as (essentially) its single, with a music video. The video has Thom Yorke dancing around and singing, reminiscent of an R&B music video, and in actuality, it sounds like an R&B song. With Yorke’s ever-present falsetto, ear-perking hooks, and handclaps, the track sounds radio-ready. The chaos of the first five tracks is left behind during the rest of the album. “Codex” and “Give Up The Ghost” are percussion-less and full of space, with keys, strings, brass, and chirping birds. The latter is an album highlight, most importantly for its songwriting. The repetition of the lyrics “In your arms” offers emotion to an album that has an otherwise critical and cold outlook on today’s societal norms.

The King of Limbs could become Radiohead’s divisive album simply because of the hype that was generated when this album was announced. Many found In Rainbows to be Radiohead’s best (although I will counter that notion) so the hype surrounding its release was justified, to an extent. The album does not sound like In Rainbows but it does explore new territory with limited success. If one wanted a continuation of their rock sound from In Rainbows, the album may disappoint.

Another important aspect of this album that hasn’t been mentioned is how it will be released. Initially as a digital download, The King of Limbs will be later released as a newspaper titled “The Universal Sigh” (a lyric taken from “Bloom”). I can’t comment on this newspaper (as I had previously mentioned, this is a review of the digital download), but it contains art and poetry. However, I will comment that this album, and how it is released as a newspaper, continues with Radiohead’s trend of commenting on how music, or any other form of art, is represented as a tangible item and how the item can be distributed. The music industry (or lack thereof a music industry) must adapt to the changes that have occurred in reference to society’s ideas of how music is received by an audience. Fortunately for us, we have a creative group of musicians pioneering this change.

(Reviewer’s Score: 3.9/5)