Still in the first week of the release of Thom Yorke’s The Eraser. And there are still tons of reviews to share from our beloved members of the press. Here goes…
The Age: To further illustrate Yorke’s glass-empty view of human progress, nearly every sonic element here is beautifully cracked and chipped and distorted, as if the studio itself is in meltdown. He barely picks up a guitar but his pretty piano parts are like stray gasps of humanity defying the distressed machine rhythms. It’s mainly his authority as a singer that elevates whinge to wake-up.
Stuff: The ratio of hope and futility is not encouraging but there’s a crucial kernel of comfort in hearing this lone, deceptively powerful voice address the imbalance: “We think the same things at the same time, we just can’t do anything about it.” Except make records like this, perhaps.
Junk Media: In the end, it all comes down to the voice. Forget the snapping trickery of electronica, the processed guitars, those shimmering curtains of sound, the music-box laptop aesthetic: The Eraser is the sound of Thom Yorke’s voice at its most intimate, its most tender, and simply put, its most beautiful.
Washington Post: If misery really does love company, then Thom Yorke never got the memo. Either that or he simply couldn’t read it through the cloud of anxiety that seems to have enveloped him during the making of his melancholy new album, “The Eraser.”
AV Club: The Eraser does have marked differences: Without his bandmates in tow to encourage the occasional traditional chorus, those are more or less out the window, as are most of the chunky guitars. Yorke fills the void with atmospheres and claustrophobic computer clicks, and while he doesn’t shy away from catchiness, he doesn’t actively seek it, either.