The Kings of Limbs is the eighth album from one of the most renowned alternative bands in the world, and their second to be self-released, which is incredibly unusual for such a thriving band. Something no one can deny is the exceptionally unique style, format and delivery that Oxfordshire-bred Radiohead utilise continuously. In fact, The King of Limbs is a reference to a thousand-year-old oak tree which stands close to where the band recorded the album. Although it consists of just eight tracks, The King of Limbs, retains Radiohead’s individuality but also conveys a slight sound variation to an utterly soothing, gentle and serene experience for the listener. Having not released an album since In Rainbows in 2007 which peaked at number one in the UK, and after a spectacular performance headlining Reading and Leeds festival in 2009, the expectation for this brand new compilation was nothing but encouragingly optimistic.
The album commences with ‘Bloom’, which is soft and steady, particularly with the piano-led beginning, which is reminiscent of classical artists such as Ludovico Einaudi. Adrenaline pumps until Radiohead’s signature noise, similar to that of a radio-tuner is admirably administered into the melody and illustrates how fan pleasing this record is, and provides the listener with a taste of the mellow yet vigorous tracks yet to come. The layers of this track in particular seem indefinite, and the use of backwards loops, jazz influences, radiant echoes and unpredictably inputted, precise and succinct lyrics and general song structure display the limitless abilities of Radiohead that are certainly worth embracing. ‘Bloom’ is nothing but a delightful introduction to the album and the way that layers of the track are extracted one after another and the teasing fade demonstrate how carefully, yet effortlessly constructed appear to be.
Having gained a wide range of dedicated fans from all over the world, and being such gifted musicians Radiohead have developed but never compromised their awesome eccentricity and lack of specific genre, and The King of Limbs truly portrays this individualism. They have never moulded into mainstream machines since their 1985 inception, yet their success and fan base appear to broaden continuously, and with indefinite focus on thriving musically rather than economically, there is nothing standing in Radiohead’s path. Collectively, through their music they seem to connect with people on an indescribable level that is unreachable for most other musicians.
Despite being self-released, this album is beautifully produced and, if nothing else, immediately encapsulates the interest of the ear. The thirty-seven minute recording, like In Rainbows, was produced by Nigel Warwick, and displays Radiohead’s love for employing a number of musical formats, such as seemingly off-beat rhythms, and the wavering, yet haunting vocals of front man Thom Yorke. Their shortest album to date, The King of Limbs, Radiohead released track five, ‘Lotus Flower’, as a single on the very same day the album was released, but they have never been guys for following trends.
The album commences with ‘Bloom’, which is soft and steady, particularly with the piano-led beginning, which is reminiscent of classical artists such as Ludovico Einaudi. Adrenaline pumps until Radiohead’s signature noise, similar to that of a radio-tuner is admirably administered into the melody and illustrates how fan pleasing this record is, and provides the listener with a taste of the mellow yet vigorous tracks yet to come. The layers of this track in particular seem indefinite, and the use of backwards loops, jazz influences, radiant echoes and unpredictably inputted, precise and succinct lyrics and general song structure display the limitless abilities of Radiohead that are certainly worth embracing. ‘Bloom’ is nothing but a delightful introduction to the album and the way that layers of the track are extracted one after another and the teasing fade demonstrate how carefully, yet effortlessly constructed appear to be.
‘Morning Mr. Magpie’, whilst quite an obscure name for a song, is second nature to any person who knows Radiohead well, and the almost incomprehensible dream- related lyrics confirm what an acquired taste the band are. Whilst this track also begins with enchanting piano, the heartbeat-driven back beat is breathtaking in its simplicity. Ending with a fade sounding somewhat like a quiet hover, the chirpiest song of the album, ‘Little By Little’ is another track exhibiting the amazing magnetism of subtle lyrics, given the fact that they are expected to appeal to more people with various relatable personal experiences, ‘Never get noticed. Never get judged...’. There are elements that compose this track that are unlikely to have ever been heard in the music world, bearing in mind Radiohead’s impossible-to-reproduce style.
Fourth track ‘Feral’ is reminiscent of the band’s divine ‘Idioteque’ from their 2000 album Kid A, with the conventionally rhythmic drum beats layed down by drummer Phil Selway. Unusually, even for Radiohead, the song is completely instrumental, with odd, indistinguishable mumbles from Yorke. But it accurately broadcasts how skilful and inimitable the band are, and I personally find it extraordinary that their sound appears so fresh despite their career expanding almost thirty years. The track concludes with complex pumping bass, similar to that of the beginning of ‘Time Is Running Out’ by long time level-headed musicians Muse. This portrays the eerie, intense calm of the record, as well as Radiohead’s manic ability to make an element as simplistic as a melodic bass line sound impossibly distinct from any other known band.
Blending, almost faultlessly from ‘Feral’, ‘Lotus Flower’, immediately, it is not difficult to understand why the band released this track as a single, with it being the most musically conventional track from The King of Limbs, even incorporating hand claps. The lyrics in particular, are spellbinding, ‘There is an empty space inside my heart, and now it won’t take the root, and now I set you free...’. Their sentiment surely eradicates any opinion that Radiohead are purely for the more dejected lovers of music, after all, it is the more negative experiences and aspects of life that are the most relatable and full of sentiment, which can always be reflected through lyrical prose. The combination of troubles with tranquillity throughout this album is dazzling, and something that shall be very difficult for other musicians to attempt to reproduce.
Sixth track ‘Codex’ retreats back to a form which Radiohead appear to be most comfortable with on this record; a pure, unspoiled sound beginning with piano. It is this track specifically, without their signature use of loops and agitated guitar that really encapsulates the breath-taking, rarefied splendour that Radiohead are all about. ‘Give up the Ghost’ is activated by live recorded bird song and the lush, untainted, acapella vocal skills of Thom York, expressing the limitless transcendent thrill Radiohead provide their fans with time after time with tracks such as this expressing the befuddlement relationships can create, ‘Don’t hurt me. Gather up the lost and sold...’. Furthermore, final track ‘Separator’ represents the bands continual challenge to improve on the delights they have / previously composed, and without an insidious constituent in sight, it can only be described as exquisite.
The King of Limbs unsurprisingly, has already fired up thousands of fans across the globe into endless conspiracy theories regarding song meanings, all of which are of course opinion based. But in my opinion, this charming compilation is wonderful. The remarkable abilities of Radiohead members is are immeasurable, and it is only an exceptionally accomplished band such as them that could ever construct such an overwhelming intermingling of musical ingredients.
5/5
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| 'The King of Limbs' Album Cover |
The official music video for Radiohead's single from 'The King of Limbs, 'Lotus Flower' : http://www.youtube.com/watch?v=AdFy8oLmnEo
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