Today, Thom Yorke’s The Eraser is out in North America. So I think every corner of the world is covered now. And then there’s always iTunes. Reviews from every corner of the world too. So here are loads of other reviews:
TinyMixTapes: Most of The Eraser features suffocated, amateurish beats that are cut-up, looped, and processed, but ultimately structured as Songs through lyrical phrasing. It’s this structure that both repels and compels me.
Stylus: But The Eraser is a triumph, and I’m left wondering why I expected otherwise. Maybe it was intended to temper expectations for Radiohead’s new era under Spike Stent, but as is, it will always be a stunning final word for one of our generation’s most reliably innovative partnerships.
Slant: If anything, The Eraser more than proves that Yorke, no matter how intriguing or forward-thinking his ideas, needs the democracy of Radiohead to ground his more angular artistic impulses, rendering the fantastic palatable.
BBC: The Eraser’s sound lies somewhere between the roiling beat soup of Amnesiac and a poppier sensibility, most evident in the title track’s stuttering Chicago house pianos and the outstanding warm bass ballad, Atoms For Peace. Lyrically, Yorke proves once again that if nurtured correctly, teenage angst can flourish into full-blown paranoia. Feeling bad rarely sounded so good.
All Music Guide: Producer Nigel Godrich, whose relationship with Radiohead exceeds a decade, played a major role, contributing arrangements, “extra instruments,” and enough influence to guide the album into its tight song-oriented structure. Without him, the well-executed album would’ve likely sounded a lot closer to the kind of stray-idea patchwork experiment that so many other long-boiling side projects resemble.
Billboard: Anyone who found the alien sonic landscapes of “Kid A” a bit overwhelming will feel much more at home with these nine less fussy but primarily electronica-dominated compositions, nurtured by longtime Radiohead producer Nigel Godrich.
USA Today: Thom Yorke’s The Eraser “sounds very much like a Radiohead album, only less so,” says Edna Gundersen, who finds the front man’s solo debut “somehow comforting and unsettling at the same time.”