We all know the history behind the release, none of which has any relevance to the music itself, so let’s skip it. Sometimes albums reveal themselves more completely over time, and In Rainbows is one of them. Let’s take a look:
1. 15 Step 6.8/10
A snappy intro to the album, complete with hand claps, what sounds like a Reaktor 5 drum module and a jazzy sounding guitar. The lyrics are fairly unremarkable. The guitar notes sound like past Radiohead efforts, but that’s not necessarily a bad thing. In the end, a song that’s just kind of “there”.
2. Bodysnatchers 6.9/10
Opens with a standard alt.rock guitar riff, then picks up steam into an angst filled track with some beautiful vocal work by Yorke.
I have no idea what you are talking about
I’m trapped in this body and can’t get out
Ooooohhhh
The song is similar to Pearl Jam’s Do The Evolution, with similar pacing/breakdowns but less of an edge and urgency.
3. Nude 7/10
We are treated to some gorgeous angelic sounds and swirling reverse strings in the opening seconds, which quickly fade to a smoky bar bass groove. Greenwood’s jazzy sounding guitar playing sets points of light in the air around Yorke’s vocals like the sun rifting through holes in a barn. The angelic choirs return later in the song, and just kind of push along Yorke’s moaning (which become a bit overdone at that point). A very ethereal piece, but it seems more like a mood piece than a fully realized song, which seems to be one of the problems on In Rainbows.
You paint your smile
you paint yourself white
and fill up with noise
4. Weird Fishes/ Arpeggi 7/10
I’d be crazy not to follow
Follow where you lead
Your eyes
They turn me
Pretty standard stuff here. Lyrically, it’s a step up from the rest of the record. The imagery of being pecked apart by fishes on the bottom of the ocean is quite good. This is backed by a watery sounding musical passage which is the most interesting part of the song. The drumming is crisp and competent, but the song feels incomplete.
5. All I Need 6/10
The song greets us with a familiar sounding beat and chord sequence. Unfortunately, we are treated to one of the worst rock lyrics in recent memory, something Spinal Tap would be proud of:
I’m an animal trapped in your hot car
I could almost picture Ian Faith in the background when hearing that lyric. The song also just kind of plods along on the same path, again something that In Rainbows seems to have a problem with. At some point after Kid A, Radiohead ditched the big ideas and risks of OK Computer for these unrealized mopey mood pieces. That’s not necessarily a bad thing as long as you can fill the remainder of the album with high quality songs. I doubt anyone would ask for Ok Computer II, but rather an album with fully realized songs regardless of the stylings.
All I Need finishes with a huge upswirl that feels like an afterthought.
6. Faust Arp 5/10
A combination of Dear Prudence and a Pillow of Winds. Not much original material here. That said, the playing is quite beautiful.
7. Reckoner 7/10
A spaced out intro with some fantastic drumming. Their brightest moment since Pyramid Song. Yorke’s singing on this is exceptional and haunting.
You were not to blame for
Bittersweet distractors
Dare not speak his name
Did I cater to all you
All your needs?
Unfortunately, The In Rainbows versions of Reckoner sounds remarkably close to a song released before it, which does effect our overall score for the track. That song is called La Ritournelle by Sebastien Tellier and you can view it here:
8. House of Cards 7.5/10
Lots of reverb on the intro vocals which are flanked by a chunky, clean guitar chord. The melody is quite good. The song stays on the same track with minimal change, as if Radiohead are simply afraid to take any risks on In Rainbows. One can only guess at the reasoning behind this lack of adventure from a band which trademarked it from 1996-2000. The listener can acutely hear the band hiding behind the linear and safe arrangements of In Rainbows.
I don’t want to be your friend
I just want to be your lover
9. Jigsaw Falling Into Place 5/10
Another song on In Rainbows that fails to leave a single groove. That said, Yorke’s singing is in fine form, and as usual the string arrangements are top quality. There are only so many options to pretty up a narrow slot, however.
10. Videotape 9/10
Exceptional melody, reminiscent of their better work in the past( No Surprises). There’s no lack of sincerity in Yorke’s delivery or lyrics. Easily the finest song on the album.
You are my center
When i spin away
Out of control on videotape
The song gets a 9/10 because of the haunting melody, which in itself is no small feat to come up with.
Again though, we are privy to a very linear one-way-road progression where things just get tacked on to maintain interest. And as mentioned earlier, that’s not a big deal if the rest of the album is balanced out with complete songs and full ideas. Unfortunately, In Rainbows is not. It’s a very safe record lacking the big adventure and risk taking of the better Radiohead work from 1996-2000. In the end, In Rainbows fits right alongside the moody, marginal work of Amnesiac, and Hail To The Thief. The big ideas just aren’t there anymore. Many have alluded to Radiohead being the new version of Pink Floyd – both art rock bands, both evolving, changing and challenging the audience. If you look at the career time lines though, Waters and company were putting forth songs like Comfortably Numb, Nobody Home, Mother and Another Brick In The Wall, which are complete, landmark songs. At the same age, Radiohead is seemingly offering unfinished wav files from their Pro Tools rack. There’s a growing sense in the music community that current bands are afraid to take these big risks due to critical blow back, so they stick with safe arrangements and quick mood pieces to fend off the blog critcs who see big ideas and chance-taking as bloat.
Let’s hope this band takes some risks on the next one and returns to form.
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Ready For the Flood is the first full length release from Mark Olson and Gary Louris(basically the Jayhawks) since the 1995 masterpiece Tomorrow The Green Grass. That’s a hell of a long time to say the least. Was it worth the wait?
This review is a fairly interesting contrast with the Animal Collective one. Ready For the Flood was recorded and written in two weeks, with one week devoted to each aspect. The vocals were left as natural as possible, creating a rough edge at times. Ready For The Flood is out this January.
1. The Rose Society 9.5/10
The look on your face when you stop to remember
where you a member of the Rose Society?
The start of this song sounds an awful lot like the beginning of Bob Seger’s “Against The Wind”, but only momentarily. It ends up being a rumination of things past, with excellent acoustic guitar interplay. It’s fairly melancholic, a trend line for the album in general.
2. Bicycle 9.1/10
A ramshackle introduction with a big, bright chorus. Louris’s vocals have a very rough edge(perhaps from too many cigarettes), but the harmonies are excellent.
It’s hard to ride at night
on your bicycle with no lights to guide
just take a chance and ride
on your bicycle with no lights to guide
The imagery matches well with the uplifting chorus.
3. Turn Your Pretty Name Around 9.5/10
One of several songs on Ready For the Flood that came from the “Mystery Demo” recording sessions prior to the sentinel alt.country album, Hollywood Town Hall.
Many times that I wonder
about what’s right for me to do
I stand out on my corner
hoping my streets will lead to you
Another gorgeous acoustic peace that does nothing new, only refines it to a standard of perfection.
4. Saturday Morning On Sunday Street 10/10
A haunting acoustic guitar weaves around the untreated harmony, creating a cyclic melancholy moment.
Are we going to find each other
In this great big dark of night
I’ve been walking in circles
a new start and a new place to live
saturday morning on sunday street
how I long to be there
Olson and Louris have crafted, for all intents and purposes a classic folk song for the times.
5. Kick The Wood 8.4/10
A rather unassuming track at first listen. The vocal histrionics added by Chris Robinson just aren’t necessary and distract from the song. The addition of a loopy vintage sounding organ adds exciting flourishes as the song lurches along. Louris takes the lead on this one, his voice in fine form and determined.
6. Chamberlin S.D. 9.2/10
Chamberlin wants you
Chamberlin wants you
If the album has any weaknesses at this point, it’s the energy level. Thankfully, Chamberlin S.D. comes along and picks things up a bit. It’s a much needed lift from the acoustic guitar forest that constitutes most of the album. It’s nice to see the meadows and mountains again. The track almost has a Beatles vibe to it, with the usual Jayhawks alt.country edge. It’s tightly knit, with drive and purpose.
7. Black Eyes 10/10
The tempo immediately heads back down for Black Eyes, an enchantingly beautiful acoustic piece.
Our black eyes our black eyes
go out into the world
no doubt
you are strong
Very few people can get together for eight days and write something like this. Truly an example of two musical pro’s at their best. Everything from the playing to the melody are impeccable.
8. Doves and Stones 9.6/10
Olson kicks this more upbeat song off with a timeless vocal delivery. There’s something almost eerie about the tune, perhaps sounding like it belongs on some jukebox in an old cafe in the 60’s. It’s very natural. There’s nothing contrived about it, or calculated. You believe what Olson is singing about. His voice comes across as a bit more ragged than his Jayhawks days, but it’s an asset on tracks like this. One of the few faster paced songs on Ready For the Flood.
No other place to go
inside the car with doves and stones
9. My Gospel Song For You 9.1/10
A really slow paced acoustic love song layered up with reverberating electric piano. More acoustic fare, sung very well by two guys who made their careers on harmonies and big choruses. An electric piano and hammond organ keep things interesting.
Waters of our time
running fast, running fast
10. When the Wind Comes Up 7.8/10
There’s this kind of wild west, trippy sage brush vibe streaming in and out of this thing, but it doesn’t work. What works is the chorus. It’s simply stunning and completely holds up the song. We are even treated to a familiar and ham handed wild-west-ghost-town-guitar flourish (think Young Guns).
11. Bloody Hands 8.9/10
Another one from the “Mystery Demo” sessions. Taken alone on this album, it comes off quite well. Having heard the previous versions though, the energy is a bit lacking, and the playing is not quite as good. Whereas the song propelled along previously, bits of this piece are just left kind of hanging in the air, as if the performers aren’t sure of continuing. One of the risks of an eight day recording session I guess. The lyrics of course are as good as they have always been.
What the mind forgets
the soul retains
all my loves in vain
12. Life’s Warm Sheets 9.2/10
Olson and Louris kind of peck away at the beginning vocals, only to relax and let things flow later on. Life’s Warm Sheets is basically a lullaby, sweet, rolling and warm. The most poignant moment:
Dreaming, dreaming on a star
and wish for it to cross lifetimes ocean
dreaming, dreaming on a star
and wish for it cross lifteimes ocean
This section is held in the air along crisping acoustic guitar lines, each not from the guitars providing a foundation for the vocal note that is placed upon it. This creates a dreamy synergistic effect, which is punctuated by some fine harmonica playing.
13. The Trap’s Been Set 9.8/10
Ready For The Flood doesn’t end with a bang, but rather a slow paced acoustic number held up by an organ that seems to hang just out of the picture, only to pop in now and then. Olson’s portion of the harmonizing crackles and breaks, lending a raw feeling. There’s a spoken word segment by Olson that normally would seem hokey, but instead comes off completely natural, setting up a big swooshing push at the chorus, like a big pine tree swaying in the wind.
All this pain
it’s all gone, it’s all gone
baby it’s all gone
Perhaps these lyrics in the last chorus on the last song on the album are a look back at the pain Olson and Louris went through after Olson left the Jayhawks in 1995. It was obvious that caused a great deal of tension and anxiety on both sides. Under the Jayhawks in the 90’s, Olson and Louris crafted several amazing albums, with standout tracks like Blue, I’d Run Away, and Waiting For the Sun. They were *the* alt.country band, with a unique harmony sound and an ability to craft americana with a saw blade edge and snow cone smile. One of the advantages they always had was the vocal balance that two great singers who harmonize very well ads to the band. They use that to full effect on Ready For The Flood.
Who knows what made Olson leave the Jayhawks in their prime 14 years ago, ultimately breaking the talented Olson/Louris songwriting team. What matters now is that Olson/Louris were able to get together and write again. They are distinctly unique American songwriters that still have a great deal to offer. Ready For The Flood is an exceptional record, and an easy candidate for album of the year at this point.
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