Radiohead – The King of Limbs

Quick, download, listen, review, break laptop (optional), upload,

The hype around Radiohead is truly huge, as one can tell from the instant reviews written in the half hour after download of the mp3 release.  I feel after 2 days digestion I’m only just poised to write even the smallest of insight..

Hailing from Oxford and all the cliquey nature that sometimes entails, Radiohead seem to adopt an approach which suggests:  We’re just as ‘clever’ as you and look what we can do.. dribble down a microphone, throw our drumsticks about and have a fit onstage.  In the video to Lotus Flower, one of the album’s leading tracks, Thom’s eccentric dancing reminds us that craziness, abnormality, and difference are indeed beauty. Phil Selway’s clumsy intelligent rhythmic diversity and the lyrical links to nature also highlight how right they are. 

Building on the juxtaposition of scattered beats, cut up instrumental loops and piano samples, topped over with Thom’s saliva-induced perfection of intimacy, and wailing in his vocal delivery.  What In Rainbows and Thom’s solo work started this album continues.   There is an energy which at points has every element of chaos, and yet somehow manages to project as relaxing.  There are no catchy sing-alongs, few instrumental hooks or indeed any choruses, but presumably this wasn’t intended anyway and as a whole the album flows in its messed up natural soundscape.  I therefore refrain from giving a track by track analysis.  In fact the token commercial guitar track being left out altogether works in the album’s favour.  The King of Limbs finishes with an amazing simplicity which highlights Johnny Greenwood’s genius as a melodic guitar arranger.  Radiohead have obviously built up the attention span of their existing fans, and taken them to new musical realms yet again.  Good work guys!

Trev Williams

20.2.11

Fire-Lives, Album Miriam Jones

As a solo folk artist Miriam is a joy to listen to on her own, but here there is a host of talented collaborative musicians making up a band behind her songs. Fire-Lives is musically tight and well formed throughout, with catchy melodies, rich strings, and gorgeous vocal harmonies. Opener ‘Rhythm Out” sets the lyrical scene well with lines “I don’t need you, I’ll be fine, I’ve got my rhythm”. It’s a reflective, heart torn yet ultimately uplifting and optimistic album. “Helicopter” reminds me of Lamb with vocal sounding more towards Lou Rhodes. “Come Clean” is about honesty, “Wondrous, Mysterious” is about how commercial Christmas has become. “Bones” is a piano based ditty, who’s melody is wilting and ‘swaying like a misplaced satellite’. Each song has been well constructed and thought through, and Fire-Lives could have easily followed Alanis Morrissett’s ‘Jagged Little Pill’. I hope it goes a long way.
Trev Williams
published OMS 12

Little Fish, Dial F for Frankenstein, O2 Academy 13.11.10

In subsequent weeks before I wrote this review up, Dial F announced they were to split and, unfortunately, what was planned to be their final show at the Winter Warmer was cancelled due to heavy snow, so this one turned out to be their farewell. Dial F were getting better each time I saw them; Green Day grunge, and sing along na na na bits, singing “dance you f**kers”, memories of Friday night at Truck festival last summer flood back. Dial F were an asset to Oxford music who will be greatly missed by many.
Little Fish are well known for writing dark lyrics about depression, paranoia and suicide, all the real stuff many bands tend to forget.  Adding Ben on Hammond as a permanent feature has pushed them towards a more pop based sound, “Glad eyes up, Sad eyes down” being the latest sing along, but it is now beginning to gel.  Songs like Die Young and Bang Bang go down brilliantly, and the epic Am I Crazy?  creates an inclusivity with a fan base who are the most loyal I know.  There were a few tuner fish incidents, and a little paranoid fish bowl moment, but as JuJu quite rightly points out.. “it’s only a game” and it’s great to see their music back on top form where it belongs.

Trev Williams 

published in OMS 12

Equitruck review

written in collaboration,
please see issue of OMS
http://www.oxfordmusicscene.co.uk/images/oms_issue12.pdf

Deer Chicago, Deer Chicago EP

Deer Chicago create big soundscapes, lots of delays, tight rhythmic sections and ambitious vocal lines.   Aiming high for the epic 6 min plus track lengths it reminds me of Snow Patrol but with more edge.

‘In the Darkest Wood’ creates soul searching darkness ‘don’t hide the blood on your mind’ Jonny sings, reminiscent of the bleakest Radiohead track.  ‘Quite Like a Tide’ although with some brilliant moments does sound a bit too strained vocally at points… there’s a knot in your throat!...  as he later sings!  The best track ‘Frozen Globe, Freezing Teeth’ is brimming with energy, it depicts looking through an atlas and thinking ‘the blizzard is your home’. I think we can all relate to that at the moment.  ‘Fighting Like Bears’ closes with great drum fills showing a band brimming with ambition on this EP.  I look forward to hearing them live and seeing what they do next.

Trev Williams

published in OMS 12

Alphabet Backwards - Superhero EP

It is a joy to hear well-crafted pop songs, and Alphabet Backwards’ latest EP is no exception to their long repertoire of catchy hooks and sing along choruses.  Fun, optimism and innocence are commodities many bands seem to neglect in their writing, but they’re all here.  Collide is a reflective opener, “I’m now too old for Radio 1”, sings James happily passing on words of life wisdom while listening to his old records.  Not tying shoelaces, wearing sweaters, and meeting a superhero seem to be good tips!  Blink of an eye is a loved up duet, with Steph singing “Our lips have got all the time in the world to be together” which will surely touch any romantic heart.  My favourite track is Yesterday in June, more rhythmic and dissonant to their normal sound but still maintaining their catchy craftsmanship. 

Trev Williams

published in OMS 12