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Brad L
I have burned, listened, thought, and listened again. Of course there will be changes to these songs when the finished product is released in June, but essentially they will not stray too far from the demo. If anything they will be even better with the finishing touches added. That really is a testament to a great band, their "demos" and B-sides are just as good as the finished material.

As for HTTT and its predacessors I feel it is an entire piece of music intended to be enjoyed from start to finish. That being said ...... I LOVE IT!

2+2=5 is a great opener and A Wolf At The Door is a fantastic closing track. All tracks in between have their differences but flow into each other making an incrediblly cohesive effort. There is a little bit of everything for all fans of Radiohead. Tracks such as "The Gloaming" and "Backdrifts" show the progression of the band and illustrate the Kid A/ Amnesiac sessions were not just a "one-off".

That being said the guitar driven tracks pick up where The Bends and OK Computer left us. Simply amazing and the band is sooooo tight. My early fave on the album is "Where I End And You Begin" and the wall of guitar, it will eat you alive! I would love to hear this in a live setting.

Naturally HTTT has a few suprises. Tracks such as "A Punch Up At A Wedding" and its reserved groove stand out as a real testament for a band that is really hitting its creative stride. Likewise "Myxomatosis" stands out much like "Electioneering" did on the OK sessions. A song that seems out of place but is so damn addictive you can't stop listening over and over. In essence that is what makes Radiohead so prolific. The music isn't about "norms and formula" rock but the albums are so damn good and the unreleased material is just as strong.

Since this is not the final version of the material I do reserve the right for a "final" review ... the mastered version perhaps? I can confidently boast that "Hail To The Theif" is easily one of the finest CD's released this year and would be neck and neck with Ben Harper's "Diamonds On The Inside" as my album of the year. I will know for certain June 10th, I AM SO STOKED!!!!!!

Brad L
Halifax, Nova Scotia
Canada

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Jason
i think the album rocks. finished or not. Radiohead is brilliant. Their sound is so much more advanced than other bands. (except for maybe Creed. haha.) Hail to the Thief proves that combining the sounds of the Bends, Ok Comp., Kid A, and Amnesiac. Im glad to hear the band rock the guitar once again. It was hard to pick a favorite album before this one, but Hail to the Thief is too damn powerful. I can't say enough about their talent. Looking forward to hearing the finished product. Sorry about the leak.

jason

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Michael
Again like Amnesiac, Hail To The Thief is another album that fails to charge off into previously unexplored areas for Radiohead. You won’t find anything you haven’t heard them do before. It isn’t a fair criticism to expect those kinds of leaps but if I’ve seen them do it before, then naturally I’ll want it again. That isn’t the album’s only similarity to Amnesiac, it also shares the forgetful-one’s lack of cohesion. It’s true that the album sounds like it’s pulling songs from all the previous eras. You’ll hear out of control squealing guitar breaks that make you think OK Computer, lumbering, piano driven funeral marches ala Amnesiac, syrupy electronic bits as heard on Kid A and even a few The Bends inspired lullabies. The album is all over the place within Radiohead’s own catalogue, but never takes any steps beyond those borders. The songs unto themselves are pretty favorable, however once thrown together don’t make a more powerful whole like OK Computer and Kid A. I think it could have used a few more upbeat, balls out rockers as seen in 2+2=5, There, There and Myxomatosis which incoincidentally are the album’s stand out tracks in my opinion. The final verdict; great album, not their best but better than Amnesiac and that’s all I could I hope for.

As for how the tracks compare to the live material, I agree with what I’ve been reading from the fans thus far, the live versions for the most part were better. What happened to that nasty kick start midway through There There? Hopefully this will be altered in the final version. Reminds me of that awesome version of True Love Waits that made the rounds in the downloading circles compared to the weaker synth-less version that was put on the Live Recordings disk. Perplexing choices from our boys. I also find the lack of Big Ideas a major misstep for Hail To The Thief. The album didn’t need anymore slow songs true, but it should have swapped places with another track. My vote goes to Scatterbrain getting the boot in favor of Big Ideas. Oh well, I feel bad about complaining, even at their worst (not that Hail To The Thief is) Radiohead are still infinitely better than anyone else making music today. They’d just better not let us down in the B-sides department, Big Idea’s deserves the pro tools treatment.

On a final note, just because we’re all a pack of impatient electric jackals, breaking into Radiohead’s camp and stealing their music before it’s completed doesn’t mean we should forget to pay them this summer for the raping.

-Michael-

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Spencer
I'm sure that I was shocked as everyone else to discover an opportunity to hear this album far before it was to be released. And like several others, I opposed to the idea of popping the cherry so soon. Finally, like everyone else, I gave in and just had to hear what Radiohead had in store for their devoted followers.

The one primary thing I can say is that I was not disappointed.

When I first heard Kid A, I was taken back in complete surprise and could hardly believe what was coming out of my little Aiwa stereo system. Surely this wasn't the same album I had eagerly grabbed off the shelf of my local music store, desperate to drown myself in the collective minds of those five. Hearing Amnesiac months later was not so shocking since their interest in more electronics seemed more customary to them now.

Then I heard these unmastered tracks of the long awaited Hail to the Thief and for me, it pulled everything together.

We, as fans, have always seen some type of progression in Radiohead's music. First observed was the heavy use of guitars and more customary rock sound but still with that unique perspective offered to us in the initial Pablo Honey. This essence of Radiohead further identified itself as The Bends appeared and we felt that we finally had it when OK Computer came out. Now Hail to the Thief is semi-among us and I believe that it recaps everything. It's as if they made this statement: "Yes, we are Radiohead. We've discovered several things in our adventures with music and we wish to share what we've learned. And we'll even take another step forward."

I think that this new album is all that they said it was going to be and more. It is definitely the best parts of their previous works and something else as well. I haven’t even heard the final versions of these songs and I think that the album is fantastic. That’s a very positive and powerful affect for their music to have. Also, with how comfortable they said they were in making HTTT and hearing how truly definitive, message filled, and fantastic it is, this shows how well Radiohead speaks to me personally and I strongly believe that hundreds of other fans and non-Radiohead aware people will either embrace it or turn a strong ear towards it.

-Spencer

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Joe
Heres a song by song breakdown (wont be taking into account production for obvious reasons)

2+2=5 : This song has real energy and and a very climactic middle to end - kicks off the record wonderfully and thom's voice is strong and aggressive

Sit Down. Stand Up - this song just doesnt work for me, it doesnt have any particular form and i dont find repetition on really slow songs particulalry satisfying, im sure it will grow on me....

Sail to the moon : This song is plain beautiful - one of the best songs ive ever heard, i cant speak highly enough of this :D

Backdrifts : super ! reminds me of cuttooth / fog superb melodies and another great vocal, really works in the record.

Go to sleep : really good song, lightens up the album nicely gives it good balance after the intense opening.

WIEAYB : Stand out track for me, the rolling bass and thom's vocal take on this are superb cant wait to this hear this fully mixed as it sounds like the levels are abit off.

The Gloaming : abit of a "skip it" track for me ... as would any song be that precedes There There ... not a fan of this one

There There : what can i say, every version ive heard of there there has been brilliant, and this is no exception. cant wait to hear the radio edit to see what they do to it, another song that is infectuous and satisfying to listen to

I Will : amazing vocals and a really beautiful song, perfect length for its simplity, another favorite of mine

A punch up at a wedding : reminds me of "The Doors" for some reason, guess its the bass intro, i prefered the strip down webcast version on the piano, i think they kinda over egged the cake, but its still a great song.

Myxamatosis : Filthy ! cool vocals from thom wen the fuzzy bass goes off.

Scatterbrain : wheres the emotion from the live versions gone ? a real dissapointment, but ultimately listenable. if u havent heard the live version i think youll love this.

Wolf at the door : love the lyrics and thom really does put him self head and shoulders above anyone else of his era with this vocal, outstanding.


I dont think this is the best record radiohead have made, but its great in another way like all the records, thats the best thing about radiohead, if u want rock u can listen to the bends, if u want space rock u can listen to OKC, if u want experimentation / keyboards its Kid A.
HTTF is the chill out one. cant wait to hear full mix so i can see how it sounds loud, then maybe it will become the standout radiohead album...

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David Edwards. Newcastle upon-Tyne, England.
So here we have it. The album, the one we’ve waited for so long. To those who consider Kid A and Amnesiac to be nothing more than “Arty-Farty pretensions”, this is the real follow up to OK Computer, the album that defined the end of the 20th Century. Be prepared – There will be a lot of scrutiny of this record!

Except really, there shouldn’t be. The Radiohead of 2003 are an entirely different proposition to the slightly shy, nervous creatures that somehow summoned up the greatest guitar record of the 90’s. And precisely that is the reason why “Hail to the Thief” is Radiohead’s most captivating record yet. Not their best, but their most unique, diverse and fascinating record.

In many ways, this album is the true heir to OK Computer. Despite it’s dense and fascinating tapestry, 2000’s “Kid A” was an album from a band lost within their own landscape, unable to come to terms with the expectations on them. “Amnesiac”, despite containing 5 stunning tracks failed to live up to the standards of its sibling. With “I Might Be Wrong – Live Recordings” however, the band seemed to be regaining that stunning grasp of guitar dynamics which propelled them skyward with adoration. This is the first record that Radiohead have truly given their souls too. And stone me, if it isn’t the most stunning record for years.

Because right from the start, “Hail…” grabs you by the throat in the way that all great rock records do. “2+2=5” bristles with menacing energy for two minutes, before exploding into the sort of incredible guitar outro which captivated us on “The Bends”. Thom sounds like a man possessed, screaming “Don’t question my authority or put me in a box” with sheer menace in his shaking falsetto. And just under three-and-a-half minutes in, it cuts right out. Astounding.

“Stand Up, Sit Down” is even better. A gentle loping piano and triangle backdrop melts in and out of criss-crossing vocals before something begins to swell at the heart of the band, building up teasingly into a crescendo before launching into a spine-tingling explosion of electronic drums and aching harmonies. It’s probably the single most incredible moment of any Radiohead song since “Exit Music”. Your hairs stand on end – No-one on earth can do this like Radiohead.

With that, “Sail to the Moon” is almost an anaesthetic. Thick jazzy chords and spacious drumming allowing Thom to float away on his lyrics. It’s so simple, yet so achingly perfect. Here, Godrich’s production soars, taking the simplest of backings and swelling it to ten-times its size. It never rushes, never hurries. Only a band in total harmony with itself can achieve this trick.

And following that we get…..A dance track?! If ever a Radiohead track was right for a remix, it’s “Backdrifts”. A loping backbeat with synths pacing around it as on guard. Utterly, Utterly compelling. It really makes you wonder what they were doing with “Pulk/Pull” when they can make dance music this stunning.

Following such a stunning track, “Go to Sleep” can’t help but disappoint slightly. Sure, it’s a pacey little strum along, but it sounds a little too like something that has crawled off “Pablo Honey”. It’s better than most stuff off that album, but then again, so are Radiohead. Thank God for “Where you end and I begin”, which really shows that when they dust off their guitars, they’re an amazing band. “I will eat you alive” threatens Thom. And few of us would doubt him. This is a band possessed, energised and hungry – For the first time in six years, Radiohead sound truly alive.

Yet nothing could prepare you for the sheer eeriness of “We Suck Young Blood”. Sounding like the battle cry of a thousand flesh-eating insects, it creeps over your skin, revolting you and blowing your mind at the same time. It’s almost disgusting, but in the hands of this most eloquent of bands, the “Terrible beauty is born”

But they’re not finished yet. “The Gloaming” is simply stunning. The most incredible Radiohead melody in years, floating round a bass heavy exterior that could tear the woofers off your speakers. Sounding like the political manifesto of a sorceress, you can’t help but be amazed. Then we get “There There”, the first single. Almost a straightforward rock song (As straightforward as Radiohead can be!), it’s choppy rhythm marks it out as the older, more mature and sorted brother of Kid A’s “Optimistic”. If this doesn’t go to number 1, I’ll never look at the singles charts again.

After “I Will” finishes it’s sinister, haunting lament, we get probably the album’s standout track. Crossing between being a standard piano-led song and something biblical, “A Punch-Up at a Wedding” is probably the most striking thing Radiohead have ever done. An absolutely fabulous savaging of some un-named person, it takes its place alongside the great vitriolic attacks in music, alongside Lennon’s “How do You Sleep?” and Dylan’s “Positively 4th Street”. Except it’s better than both.

Myxamatosis’s skewed fuzz-bass and screeching keyboards lead into the arpeggio-driven “Scatterbrain”, carried by a soaring, stunning harmony. And to finish the meal? In typical Radiohead style, they end the album with a corker. “A Wolf at the Door” bristles with menace and fury, Thom’s surreal lyrics tumbling over each other like dominoes. And in the space of under an hour, it ends with a simple, held chord. Unbelievable.

What Radiohead have done is to firmly cement their place as the most important band in the world. No-one makes music like this, no one can even come close to it. “Hail to the Thief” will stand as a monument to their genius. In a music world where clichés are rehashed and replayed, “Eclectic” is a word used to describe anything with African percussion on it and Avril Lavigne is considered “Unique”, it’s so comforting to see this most treasured of bands continue to develop and diversify. And in a world so full of fear and doubt at the moment, it’s a blessing to know that Radiohead can still soothe your soul with the most beautiful and expressive of music.

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Neil
First thing, i feel no guilt whatsoever about downloading this album. Lets face it, Radiohead fans are nothing if not obsessive - you know you'll be buying the album the minute it comes out, as well as all the singles if only for the b-sides and artwork. Also, whether the big fat record company bosses like it or not - the future of music is out of there control changing quickly, and this is only an early symptom. So why try to delay it all by pretending its bad or immoral? The sooner bands[in general, i don't mean Radiohead] and record companies figure out how to work with the flow rather than against it, the better in my opinion.

Anyway, the album, just got HTTT yesterday, or the pre-mixed version, and i think it is going to pan out to be another quality album. it does seem a little 'tough' to get your head around at first and a few of the songs will need a while before you can place them. but i think that this is a good thing. There is so much expectation around the release of a new Radiohead album with everyone trying to pigeon-hole it, rate it, etc. etc, but every good album needs to develop over time: when was the last time you bought an album that was a classic from the first spin? the best ones start good and then grow - like your favourite pair of jeans!

There's a new maturity and assuredness to the songs on this album. i don't agree that its like picking the best qualities of The Bends, OK and Kid A/Amnesica and making a new album out of the bits. Sure, there are more guitars, but not at the expense of atmospheric electronic programming. Some songs seem a little tough at first, but the album as a whole feels quite grounded, like it knows where its going, without being stuck in a rut.

I don't want to give a track-by-track rundown yet, mostly because it hasn't had time to sink in, but, in strange contradiction to just about every other review so far, the stand-out track for me has been 'Punch up at a wedding'.

It's quite brilliant. The jazzy, almost jaunty piano hook and funky bass-line with a smooth, lazy even, layered Tom harmony walks you into whats got to be the best first line of any song ever 'i don't know... why you bother'. It fantastic! It's got that 'miserable, tired and bitter but still alive' quality of tracks like Morning Bell etc, but with even more coolness. I know of no other band who can make me want to cry deeply and laugh[manically] at the same time - and tracks like this do it to perfection. I can't stop listening to it.

HTTT is going to develop into one of Radioheads best.

Neil

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Patrick B.
In a time when so much is bad with the world one band can bring so much good to the world.

a classic even before its pressed, before its packed, and before it hits the shelf. The new age of music is here. Hail to the Thief begins with something many Radiohead fans have not heard.....a cord being plugged into an amp. "2+2=5" quickly slips into a familiar Kid A-esque sound and ends as Pablo Honey-esque rocker leaving you wondering just what direction Radiohead will lead us this time. Next up comes "Sit down. Stand up." A driving song that sounds as if it should have been on Amnesiac.

The CD begins to turn in another direction by the 3rd song "Sail to the Moon". Almost by the sounds of the pounding on the piano you get the sense that this album has the muscle to be one of the best. Thom Yorkes voice drives this song and its sure to make you sway back and forth. "Backdrifts" gets back to that familiar sound we been accustomed to hearing from Radiohead over the last few years. A well written song that no matter what style its put into to it will turn out sounding great.

The sound of an acoustic guitar??? can it be?? The fifth track on the album begins and ends strong. "Go to Sleep" is definitly not a sleeper and if anything gets you rocking out. "Where i end and you begin" might end up being the standout favorite on the album. A complex piece that showcases Thom's powerful vocals. Simply amazing. Dark and gloomy begins "We suck young blood". A great change of pace after a few straight out adreniline rushing tracks. This amazing song has that Morning Bell/Amnesiac i'm gonna scare the bejesus out of you feeling to it....and it works but of course.

The mysterious track "the Glooming" had all Radiohead fans pondering what it was. The song starts out kind of dull with a sound you almost feel you've heard before. Its not long before Thom comes to the rescue of this song. By the end of the song you are moving your body to the sound of Thom's voice. The 1st Single "There, There" definitly stands out as the clear choice for a single. It gives off great mental imagery and has the standout chorus of the entire album. "I will" brings back some of that old magic that works so well. Almost sounds as if it could have been on the Bends. It simply solitifies this album as classic. Any thoughts prior to this song that the album is less then amazing quickly vanish.

"A punch-up at a wedding" almost sounds out of place. A steady rocker with almost a funk sound to it. Its definitly the feel good song on the album almost saying to you "everything is gonna be allright". If i had to pick a song i'm not real fond of on the album it would be track #12 Myxamatosis. Its not horrible but getting through it without skipping to the next track is difficult. As scattered as Myxamatosis was "Scatterbrain" quickly brings back harmony and order to the album. A beautiful showcase of music and vocals and grab and tug at your soul.

The last song on the album is the epic Dylenesque rocker "A wolf at the door" that seems to be a fitting end to this amazing album. Hail to the Thief carries on a grand tradition that everyone associated in and around music knows all to well....Radiohead is the best damn band in the world.

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Andy Hsueh
My thoughts of Hail to the Thief...

Since downloading the mp3s of Hail to the Thief a couple days back, I've had the album on an endless loop in my CD player. Does this mean that I am completely in love with the new album? Not necessarily. Don't get me wrong, I do believe that HTTT is a VERY GOOD album filled with many "very good" tunes. However, I do not feel that the band's new effort matches the greatness of OK Computer, arguably Radiohead's best album. Understandably, to create a collection of songs strong enough to OK Computer's brilliance is no easy task. Nonetheless, Radiohead has once again put out a fantastic record for our listening pleasure.

When Kid A was first released, most of us were surprised by the band's "new sound". HTTT, however, reflects many elements found in the band's previous albums. Overall, the album has a very dark feel to it (for some reason, images of vampires keep popping up in my head, and it's not only when I'm listening to "We Suck Young Blood"). Thom very accurately described the album as "dark pop". Here's a quick rundown of what I think of each song:

2+2=5 A great opening track, one of my favorites on the album. I love the use of the drum machine faintly beating in the background behind the guitar at the onset of the song. The second half of the song simply rocks! I was very pleased with the studio version of the song. I've grown very accustomed to the live versions of the new songs, and this is one of the better studio translations. 9.0/10

Sit down, Stand up I have mixed feelings about this one. I'm not a big fan of the "chanting" found in a couple of the new songs. "Sit down, stand up, sit down, stand up, the raindrops, the raindrops, the raindrops, etc." The chanting isn't all bad though, it does create a cool effect. A great live track, but the studio version seems to lack the energy that song is intending to create. Maybe the final mastered version of the song will better? 7.0/10

Go To Sleep Rock n' Roll at it's best! Great melodies, great energy and buildup. Fans of The Bends should be very pleased. One of the more upbeat songs on the album. 8.5/10

Sail to the Moon This has been one of my favorite new songs since it was first debuted on tour. I've always thought the piano part in the song was brilliant, but the guitar work is absolutely amazing! As are Thom's vocals. Powerful, emotional, beautiful. Many people have mentioned how Radiohead has taken their music up another level...a fantastic example of that and the great song writing ability of the band. What a great song! 9.5/10

Backdrifts One of the coolest songs on the album. Reminds me a lot of the Amnesiac B-sides, but with better constructed melodies. A very spacey and danceable tune. 8.5/10

Where I end and you Begin A beautiful and dreamy one. A very soothing mid-tempo song. Another one of my favorites. A very well constructed song with great instrumentation. The drums are great, the bassline is great, the melodies are great. Everything great! One of the more original sounding songs. I don't really know anything that sounds like it. 9.0/10

There, There, I can clearly see why the band is releasing this as their first single. Very accessible and catchy. I love the vocals in this one. I also love the drums Phil put down on the track. Thom played and amazing acoustic version of it at the Bridge School Benefit Concert which I'm absolutely in love with. I would highly recommend getting a copy of it if you don't already have it! 9.5/10

We Suck Young Blood Evil, sinister, nasty! I love it! The song just sucks all the emotion out of you. Thom's vocals are sick! He sounds so tortured...perfect for the song. A very clever use of hands clapping in the background. Again, a very original piece of work. A song that gets better with each listen. 9.0/10

I Will The use of multiple vocal tracks layered over each other creates a very chilling effect. Again, Thom's vocals are amazing. Short, simple, stripped down, yet very powerful. 8.5/10

The Gloaming This is one of my least favorite songs on the album. Again, I'm not a big fan of the chanting used in the song. The music is a bit boring as well. The electronic effects are a bit overdone and are simply uninteresting. 6.0/10

Punch up at a Wedding This was one of my favorite new songs from their live recordings, but I am a bit disappointed with the studio version. It just seems to lack the emotion from the live version. It sounds too cleaned up. However, still a very good song with great build up. 8.0/10

Myxomatosis I'm not quite sure I understand this song. A little harsh for my taste. I don't know what else to say about it, I guess I'm a bit "tongue-tied"! 6.5/10

Scatterbrain Another song which sounded better live than in studio. Still a great song though. I love the guitar and vocal melodies. The guitar work towards the end of the song is particularly impressive. 8.5/10

Wolf at the Door Not a bad song, but I feel that the album could have ended with a stronger song. It definitely fits the mold of a closing track on a Radiohead album, but it's no "Street Spirit". 7.5/10

As for my final thoughts, I truly feel that Radiohead has continued to redefine themselves and put out great original music. There are very, very few bands and artists that have the ability to consistently put out good and interesting music. I do wish that "Big Ideas" and/or "Big Boots" could have made the cut on the album though. Hopefully on a B-side! As for how Hail to the Thief ranks among their other albums, I think it's a bit premature to say definitively. I'm excited to hear the final mastered copy of the album before I make any judgement. From what I've heard so far, Radiohead is still easily the greatest band in the world right now!

Regards, Andy Hsueh

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David Richardson
As I write, I'm downloading the remaining tracks of Hail to the Thief from the 'net (how's that for Alanis-Morrisette-type irony). Let me just say that, unlike the other reviewers who have posted to your website, I have not a shred of guilt or remorse for downloading your album months before its scheduled release; you boys simply should have better security (well, actually, you shouldn't). Besides: 1) it's much more fun this way, or at least it will be if I'm not prosecuted or sued or something please don't I'm already broke; 2)I'm going to buy the CD when it comes out anyway, 'cause CD tracks always sound better than MP3 tracks; and 3) I deserve it, because I've waited long enough for this album. After all, why aren't you putting out an album every six months like you used to in the good ol' Kid A/Amnesiac days (heh-heh)? I think there are three main questions that should be answered, for which I've certainly wanted answers: How does this album compare to previous albums? Is it that different from previous albums, does it explore new artistic ground? How do the tracks from the album compare to the live, unpolished tracks that were available on the internet last summer? To be honest, I think that many of these tracks could have been released with tracks of either of the last two records and they would have blended right in. Hail to the Thief is not a great aesthetic stretch from Kid A or Amnesiac. As with the previous two albums, the songs are ballads of dejection and paranoia, chock full of maniacal ramblings and nightmare imagery. The music fluctuates between seering rock guitar reminiscent of "good 'ol Radiohead"and calm acoustic melodies that are sometimes left alone, sometimes broken up with electronic weirdness, sometimes accompanied by it. And in a few tracks, the acoustic and electronic meld, are coupled quite skillfully. Now, while I would have hoped for more of a stylistic "leap," one for which the band has become infamous in recent years, I cannot say that I'm terribly disappointed by the new music that I have heard. On the contrary, I have greatly enjoyed the live tracks I downloaded several months ago, and have eagerly awaited their studio counterparts, which have, for the most part, lived up to my expectations. I was surprised to find that with some songs I prefer the less polished, more experimental versions from the live performances. So, which are the stand-out tracks of this new album? "Scatterbrain" is massively disturbing, in a good way, of course. I don't know what it is about this song in particular, or any of Radiohead's songs for that matter that does it for me, but when I first heard the live version of this song I had bits and pieces of it stuck in my head for days. I'd go to sleep with it rolling around in my head and wake up in the middle of the night with the song playing right where it left off. The chord changes are macabre and complex, they just seem wrong somehow, which make your brain replay the song over and over to make sense of it; but it works. This is one of those tracks where I preferred the concert version over the studio track. The live version is slightly faster, the drums are louder and more present, and Thom is slightly off-key, which actually adds something to the mood of the song. "There There" is another track that was arranged better in concert. The studio track just doesn't burn as brightly, and I truly hope that this is not the final version of this song. In the live version, the drums are much more insistent from the get-go, more primal. The background vocals were stronger, too. The studio version just kind of limps into the bridge, where in the live version, the drums and bass suddenly kick in full force, and the guitar (and Thom) wail above it all. "There There" definitely needs to be retooled to be more like the concert version if it's to be the first single released, because the live version just works better, is far stronger, more vibrant. The same can be said for "I Will," another track like "Scatterbrain" with slow, haunting harmonies and chord changes. The studio version is lacking the drums from the live performance, and Thom drops an octave in the vocals, though he accompanies himself faintly in the background in a higher register. Again, live track trumps studio track. The studio version of "2+2=5" does sound better than the concert version I found. The guitarwork is much crisper, the harmony is dead-on, and it needs to be for this song. However, I found it to be a bit too reminiscent of previous works (namely, "Paranoid Android" off of OK Computer) to be an opener for a new album. The lyrics certainly fit the theme of the day, though, and, consequently, the title: the ongoing "terror-noia campaign" of the current presidential administration (I'm just guessing). You did forget to mention plastic sheeting and duct tape, though... "Myxomatosis" in its final incarnation is a kick-ass track, is one of two tracks on this album that really struck me as being a step above the last two albums. It's a big rock and roll boner of a song with a cool title. If "There There" stays as-is, THIS one should be the first single, in fact I DARE the band to release this song first--perhaps not as "market friendly" as "There There," but powerful and striking. It would certainly give this album a memorable introduction into the marketplace. The second stand-out track of the album is "Go To Sleep." It is very unlike the rest of the album, almost comes close to being warm and sunny if it weren't a song about dead bodies and such (very 10,000 Maniacs in that regard, circa The Wishing Chair--"Grey Victory"). It's an amazing drum 'n guitar piece. It's also rather low-tech in that regard, no electronic blips or farts to accompany the guitars. It stands out to me because it's not but so reminiscent of anything else Radiohead has done. This is the crux of my slight disappointment, that there's very little about Hail to the Thief that's not Kid-Amnesiacal. I will enjoy, have enjoyed this album. But it is definitely time for another artistic breakdown. One of the things I've come to admire about Radiohead, other than their abilty to survive writing grownup rock in a market that caters to whiny child rockpop, is its capacity for growth, for change and risk, RISK above all. Not much risked with this new album, but very grown-up. And now, a personal request: how about a less gloomy album next time around? I'm not saying you need to get all shiny and happy and stuff, but Hell's bells, even Polly Harvey brightened up her outlook last time around. Just a suggestion.

David Richardson

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Monkey Chops.
I'll give a lengthy review of each track in a minute, since it's the only thing I've been listening to since Sunday. It is by no means the final version of the album, so this may be premature, but I still think it's worth it. But the short review is: I can't wait until June 9th. It's a damn corker!

Where I can, I've added further listening recommendations to perhaps give those who haven't heard the album yet some idea of what to expect.

Here we go:
2+2=5 - starts with the boys plugging in their guitars before it takes off a-proper. I suppose, if this version makes the final cut, that it's an in-joke sound of all the criticism the 'Head received for Kid A and Amnesiac's brief guitar cameos. It's their way of saying "Listen kids! GEETAAAR!!!" Maybe. It's rock music, that's for sure. Initially starts with a small guitar intro backed up by the pitter-patter of a drum machine. In a way, that defines the rest of the album: rock mixed with electronica. This song reaches lift-off in the middle and Thom sings like a hysterical beeyatch. The whole thing goes at quite a pace. A fantastic opener. Almost as good as “Airbag” in that respect.

Sit Down. Stand Up - Starts off with a programmed drum beat and reminds me of Plone's "For Beginner Piano" album. It is full of electronic textures. Sounds lovely with headphones. It's quite a menacing track with lines such as "We can wipe you out anytime". Climaxes with Thom singing "The raindrops" over and over again and is backed up with some rocky drum beats from Phil. Nice work. Further listening: Plone, "For Beginner Piano".

Sail To The Moon – “Pyramid Song's” little brother. Some fans have suggested this was written for Thom's son Noah. I like that sentiment because both musically and lyrically, it's very beautiful. Thom dreamily talks about sailing upon moonbeams. And to the moon. ;)

Backdrifts - one of the songs not previewed during last summer. More electronic shenanigans, but surprisingly more accessible than previous stuff. Has a wishy washy electronic texture similar to Like Spinning Plates. Thom's vocals are adorable and kind of sexy. Key lines "You fell into our arms/We tried but there was nothing we could do."

Further listening: Fourtet, "Pause"; Boards of Canada, "Music Has The Right To Children"

Go To Sleep - one of my personal favourites. Starts with acoustic guitar for the first few lines until the rest of the band join in the fun. Very similar to a lot of tracks from The Bends. Jonny's trademark guitar makes a welcome appearance in this song. Touches of glam-rock are present too. Another sexed-up beast. Further listening: R.E.M., “New Adventures In Hi-Fi” and “Out Of Time”

Where I End And You Begin - Radiohead imitate New Order and Joy Division and pull it off admirably. It's similar to previous Radiohead attempts at indie dance, such as I Might Be Wrong and can rightly be held in as much high esteem as those tracks. Ends with the line "I will eat you alive." Further listening: Joy Division "Closer"

We Suck Young Blood - I remember Thom saying in an interview once how Pyramid Song once featured hand claps but had to be dropped coz it sounded terrible. Well, they've sneaked it into this one and it works. I think credit goes to the Portugal audience from last summer, who initiated the clapping when this track was first previewed. It jazzes out in the middle which and reminds me of Thom's epileptic dancing fits. Another menacing, taunting track. Further listening: Charles Mingus.

The Gloaming - perhaps the most impenetrable of the new stuff. Again, like Backdrifts, this was not previewed last year. It's like Autechre, but fronted by Thom Yorke. It took me a few listens to truly appreciate it. I think it will benefit more once it's mastered because electronica is not allowed to sound unpolished or else it's crap. Otherwise, it's very eerie. Use of repetitive phrases make it sound muddled, but in a good way. Further listening: Autechre, "Confield" and "LP5"; Aphex Twin, "Richard D. James Album"

There There - the first single from the album. It was definitely popular when previewed last year and justifiably so. Starts with what can only be described as tribal drumming. They must've used tom-toms or something. Recurring line: "Just coz you feel it, doesn't mean it's there." Could be fairly described as "epic".

I Will - Shortest song of the lot. In fact, "Like Spinning Plates" is I Will played backward, fact-fans! I reckon this song is about a parent protecting their child. Pretty simple, but damn effective.

A Punch-Up At A Wedding - Best Radiohead song title ever. Remember how Beck tried to emulate Prince on "Midnite Vultures"? Well, it's not like that at all, but it is Radiohead trying their hand at trip-hop lounge music. Another sexy song, were it not for Thom's lyrics, which sounds quite aggressive towards (I presume) Tony Blair and his ilk. If he sang about how he was undressing some bird, it would be sexier. It's the sort of thing where you'd go "Hello Darling, tonight I'm going to make love to you" and stick this on in the background. Further listening: Massive Attack, "Blue Lines"

Myxomatosis - OK, if "Punch-Up..." was sexy in a Marvin Gaye-sort-of-way, then this is for those who want to do it in a pornographic, hardcore stylee; sort of like "Tonight baby, I'm gonna f**k you hard, futhamucka". Apologies for the crudeness, but that's what it sounds like. I have no idea what instrument is being used, might be guitar or bass, but it's fuzzed up and angry and means business. The key line, incidentally, appeared in the B-side "Cuttooth": "I don't know why I feel so tongue-tied/I don't know why I feel so skinned-alive". Further listening: Primal Scream, "Exterminator"

Scatterbrain - AKA the soundtrack-for-falling-gracefully-from-the-sky-on-a-sunny-day-and-landing-in-a-haystack. It features dreamy guitar and dreamy vocals. No scatterbraining at all. Think of "Bullet-proof... I Wish I Was" mixed with "Subterranean Homesick Alien" and you have the right idea.

Wolf At The Door - I remember NME comparing Thom's delivery in this to Bob Dylan's in "Subterranean Homesick Blues". It's a good analogy. I was expecting this to have a similar impact on the album as "Life In A Glasshouse" did on Amnesiac, and to some extent, it does. They're not exploring any new genres with this song, but it is a suitable closer. Although I wish they put Sail To The Moon in last. ;)

There you have it. I liked the album! The track listing more often than not makes sense. I think that is important because Amnesiac was a lesson in how NOT to do it in my honest opinion. The 'Head successfully blend everything they've ever done since The Bends into one cohesive whole. Hail To The Thief is a good summation of their time together. I hope for LP7 that they develop on this new-found confidence even further.

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MG
for those of you who have listened intently to last summers live versions, specifically the 8/7 Salamanca show which was incredible, I find these versions to be a little less than expected, overall. But the good news in this case seems to be that these are not the final versions anyway. that all being said Radiohead continues to do things that no one comes close to which is why we all listen so closely in the first place - these particular versions do have some high points of course.

2+2=5 is a great version now as is. can't wait to see how this can be improved on. The live version had a tightness that is translated very well in the studio with a little Paranoid Andriod-esq guitar thrown in at one point. Thom's ranting 'pay attention' over and over is priceless and causes me to not focus while driving around in my car.
SDSU was nice but I expected more of a deeper base track behind it once the song kicked in. Live this was a great song that made
you really wish you were there at the show.
Sail/Moon was great - another beautiful song that we take for granted which no words can fully describe.
Backdrifts - ? ? I'll have to let this one get under my skin - not quite there yet.
Love Go to Sleep - sort of folky but really great. I love this track.
WIEAYB is great too - this was a cool live track - sounds good here also.
really love WSYB also - slow, but this one gets your attention - Thom's voice on this is great and the clapping is great - the crowds did this live in Europe - hope this stays on the final version released.
There There lost something - the live version from the 8/7 Salamanca show is fucking amazing - I really hope this is not the final version that ends up on the disc. still better than 99% of anything out there. keep that in mind.
I Will needs more meat?? wasn't that impressed with it. This should rank up there as an incredible track when final. But I really hope more is done to this - such as changing his intonations on 'babies eyes, eyes. . ' he sings all the same now. This will be more I hope.
Punch Up was good - I really liked this live. this version is good as well.
Myxomatosis is an interesting track that for whatever reason sounds really different for Radiohead in my opinion. But this one is growing on me slowly.
I really liked Scatterbrain live as well - I hope the final version has more than the version out right now. not terribly impressed with what I have heard so far.
and Wolf is a cool track - this was only the 2nd time I had heard this particular track so I don't have much to compare to.

Based on the live tracks I was expecting a ridiculously great album the kind that makes your brain hurt while trying to figure in your head how human beings can create such music. I will assume that CD will be released June 9 - but these will get me through until then. . .
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Chris R.
Hail To The Thief is an album to listen to as the world is ending: because it is ending. Dinosaurs are roaming the earth; they're hungry, they suck young blood and we're being eaten alive. They can rub us out anytime they like and want us to know it. You can't let this happen to your children, but how far can your defiance possibly take you? Will you rise up? Its theme is universal: someone is winning and it's not us.
Does this sound like an album you want to own?
This is by far Radiohead's most overtly political album, mixing the raw anger of "Electioneering" with the schizophrenic world "Idioteque" and the paranoid reality of "Optimistic" then multiplying all that by ten. A record of extremes that would rather make bold declarations than ask rhetorical questions like "You and Whose Army." Yet this is not Public Enemy, or Rage Against the Machine. Thom Yorke and company have drawn a line in the sand and it's us against them, only Yorke never tells us who "they" are by name.
Oh yeah, and there is music here too. When the guitars are present it's clear that they returned in full effect, yet they're counter balanced by the resonant synth basses, and bit crushed beats that the band had introduced to us on Kid A. It's an album all over the place stylistically; Hail To The Thief only sounds like Radiohead, but at the same time it doesn't. It's the album that they've been leading up to making since recording Ok Computer, as everything they have done since then has just now collided and caved in on itself with this album. The hardcore fan base will love it, the critics will love it then later hate it (or maybe finally have enough backbone to be split about it right from the door), as for the rest of the populace, that's anyone's guess.
Hail To The Thief could very well scare off the last reminants of the casual-Radiohead-fan crowd who may have been too embarrassed to admit they may not have liked Kid A or Amnesiac, or it may possibly even bring Radiohead back onto American rock radio airplay with the aggro tone of the record. Is Hail To The Thief an easy record to listen to? No. But it's not difficult either. Am I contradicting myself? Yes. The theme of "us" versus "them" may be well defined within this album, but this record, like the world is not so black and white. This is either more genius, or crap, maybe even a little bit of both, it's too early to say. All I know is that it has my attention right now.

Chris R .

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Matthew Landry
can you feel the funk? because i sure can

yea yea i felt bad downloading it, but now that ive heard its unmasterd, i can wallow in my own crappulence..ok so the album is....great...i feel hesitent saying this as ive only listened to it a few times, but so far, great.

starting the album with 2+2=5 was a great choice, a big clear message that this aint Kid A Three: Return of Eno...and ill be honest, it feels really good to be able to rock out with full on air guitar to a radiohead song for once in this new millenium. This song kicks like a rougher, punkier version of Just and its great. the following track, "sit down, stand up", begins with a meandering, moaning yorke and a host of subtle sound effects until finally exploding half way through when thom goes on his rain drops rant. i almost shit a brick hearing the hardcore techno kick in and the arcade style space gun sound effects are an awesome touch.

"sail to the moon" is a jazzy ballad that displays Yorke's pipes a la '95 'bullet proof...i wish i was'. listening to this song in the dark with my buddies, i could only describe it as bew-TEE-full. "backdrifts" is a lighter, poppier take on pull/pulk style electronica, and really is more effective, utilizing yorke's ever shifting vocals. "go to sleep" begins with sinister acoustics, as if hill billies are waiting for my ass around the corner, and then it gets funky when the drums kick in. It pulls out the sloppy guitars to end it off nicely making it a full fledged rock song. "where i end and you begin" could very well be the best song off the new album. Its brilliant bass line, drums and hovering synth make an awesome, dark mix and really shows these guys know what they're doing.

"we suck young blood" is depressing to say the least, and at first i didnt like it but you learn to love the strained vocals and the laughable slow clap. its beautiful melody lulls you to sleep and then it picks up the pace for about 5 seconds out of nowhere just long enough to wake you up. a truly original number. the gloaming is a wonderful song, and brings back the electronics of the kid a/amnesiac but again the vocals are fully there, anchoring the music better and making it more accessible. as you've probably read already, 'there, there' is amazingly understated, with the drums and bass not booming like the live version. i suppose i agree that the power of the original was striking but im sure that the fully mastered version will bring that back. the song still remains the same and is a melancholic number.

speaking of melancholic, 'i will' is stunning. honestly, and i know this a big song to compare it to, but radiohead have not made a song this beautiful and somber since street spirit(its only fault is its length. it realy is moving and thom's deep voice, backed by ed's(im assuming) high voice, really hits home hard. 'a punch up at a wedding' brings things back to the life with even more funk then go to sleep, and is a definite improvement from the live version. Myxomatosis is a great, percussion oriented tune with fuzzy bass and punchy lyrics that make it a highlight as well. Scatterbrain is dreamy pop straight from the warmer, half brother of ok computer and is another beautiful track. finally to finish things off is 'wolf at the door", with yorke doing his dylan impression as he tosses lines off with a mean snarl. the song is a supreme closer, and again, THE FUNK is prevelant.

all in all, this is a really well balanced album. I still find it an engaging, experimental album, and radiohead is of course pushing themselves in new directions, leaving behind the tension(for the most part) and really playing with attitude which is fun to listen to. This album i think ranks up there with OKCOMP and Kid A as highlights in their career, probably surpassing the bends on an experimental basis and Amnesiac on a cohesive and better writtin level.

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Darren Finlayson
Sorry if it dosent say much but I was typing this review on the high of having listened to such a beautiful album.

As with many Radiohead fans faced with the dilemma of 'to download or not to download' I was initially confronted with my conscience. Its reply, 'download but don't listen just yet', you can compare what you downloaded to the proper release post release date. And then I had them in a folder named 'HTTT' on my desktop. So I watched the folder over a cup of coffee waiting, although I am an atheist, for divine inspiration, it didn't come. Lack of concentration on my daily routine took over, and soon media player was begging me to listen to 2+2=5.

In preparation for the Belfast show in May I have been listening to the 'almost complete album' track listing show in Samalica, just so that I could sing along at the gig. I believe that what I heard of the leaked tracks coupled with some of the reviews and comments on atease has forced me to write my opinion.

Firstly I must say that I have read many times that this album sounds like the best bits of the OK, KID A and Bends era, I don't disagree with that but I do however think that the band have taken another giant step upwards and never once looked back. The production is like nothing I have ever heard before, though they are essentially mainly the songs from the summer, I think that the whole album has very much got an overall feel that cannot be pigeonholed and placed into a genre.

The album sounds like the band are having fun, as Ed told us, and I can also see what they mean when they said that Thom's voice sounds amazing. Where the previous albums have defined an era perfectly, HTTT does so also. It's easy to look back and say this but when you are listening in the present to something that hasn't already done this, therefore I can only make a prediction that HTTT will do this perfectly. I could also not have predicted, before I listened to these tracks, what exactly one could do to define the era we find ourselves in now.

HTTT moves the band one step closer to those who haven't developed the taste for them already, those fools! In subtle contrast to the previous studio releases, this album seems less tense and more like an album for a sunny day, I am definitely absorbing the bands happiness. Gone are all the common reasons folks have for disliking the band, if this is not a massive success I just don't know what will be.

I am not going to beak down each song, though from the moment I listened to the opener I was so impressed that I was shaking, before laughing with joy, to the surprise of my work colleagues, unaware of what I was doing! And after media player blasted the last few notes of 'wolf at the door' I was wholly satisfied that the band had enhanced all of the live tracks to a great extent. I imagined beforehand that hadn't been played already would be instrumental 'fillers', but there are no fillers on this album, just 14 masterpieces.

It is still early days, I have listened only once to the leaked tracks (and that's all I intend to), but I believe wholeheartedly that Radiohead are the most original, most talented bunch of people making music on this planet. I don't think those who have heard these tracks need worry about spoiling the proper release; they will still be listening to this album for years to come. There are subtleties dotted all over this album that won't be discovered until multiple listens, and then the word will spread.

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J. Stiles
FIRST OF ALL!!: There's always some type of guilt brought with downloading a full album before its release, particularly with two months to go. When I first heard that Amnesiac was available for download, I jumped on it with such quickness that I had the album in less than two hours after I heard it (which was kind of hard with a 56k connection, but friends were kind enough to help). Upon hearing it, I thought it was excellent but couldn't help but feel like a bastard for downloading it so soon. I thought it better to wait for the next album, until the release date. Then this morning I saw that it was on the net, and put my newfound DSL to work. With that said, let's forget about the remorse most of us (or some, or none but me perhaps) feel about thieving this album and talk about the damned thing- after all, this is a review, not a manifesto for self-loathing.

Though I and many others were unbelievably impressed by the evolution the band took with Kid A and Amnesiac, it's not viable to ignore the nearly even amount of people that felt it was a sad departure from their rock n' roll "roots". Both sides were fervent with their arguments and kind of just said the same thing over and over, resulting in a somewhat annoying civil war amongst fans. Upon hearing the live performances over the last year, I'm fairly certain no one was disappointed- we all know the band as one that is constantly growing and changing, and it was relieving to see them continue to do so as opposed to going back to an old format. Their live performances are always an experience- fast and energetic and always emotionally viable in ways unmatched by other artists. Hail to the Thief perfectly captures the spirit of seeing them live- though the songs are perfectly produced and unbelievably poignant, they maintain a feeling of energy that has been previously unheard in a Radiohead album. Their first album was strictly rock music (in my opinion, an underrated gem in the category), The Bends and OK Computer brought the band into the "thinking-man's rock group" label that they have had since, both emotional yet desolate and slightly depressing albums concerned with, in many ways, the lack of control we all feel. Kid A and Amnesiac were both heavily electronic and illustrated two dark and very beautiful versions of OK Computer's desolate world. However, none feel as frantic, vigorous and lively as "Hail to the Thief', a collection of songs about fear, despair, love (!) and contentment, conducted in the manner of someone exploding with these thoughts all at once. "2+2=5" perfectly sets the tone for the album, a frenetic track that builds to a startling climax right in the middle, then keeps it going. Thom's voice has never sounded so crazy- when he insanely squeals "don't question my authority or put in me in a box", he leaves no time for response and instantly goes back to violently singing the song, a very wild and manic rock song that couldn't have been done more perfectly. The rest of the album unfolds wonderfully, carrying the same theme and mood of the opener yet in completely different ways. Its follow-up, "Sit Down Stand Up" is an intense one- a floating piano riff moves around ambient noises and electronic beats, building up to one of the most powerful and amazing conclusions ever recorded in a Radiohead song- the repetition of "the raindrops" is an evocative and simply haunting finale that will be kind of hard to shake for a while. In a similar vein, "There There" delivers an equally intense finale with a cynical and downright moody opening, one of their finer songs and entirely memorable. A similar feeling, but one with more disparagement and all-around sickness than intensity (sorry for using that word so much!) can be seen in the rocker "Go to Sleep" and the grooving, nasty "Punch-Up at a Wedding". With "Sail to the Moon", "I Will", and the exquisite mellow rocker "Scatterbrain" the guys depict a much more composed variation of the worried, anxious feeling that resides in the album. "Sail to the Moon" in particular is one of the most beautiful songs they've done, as Thom pleads to, as the title suggests, go to the moon to basically get away from it all (there's a clichéd phrase for you. Sorry!). "I Will" is performed in a simple and beautiful style with a defiant yet somber atmosphere as Thom makes it known that he will "rise up". There is a fine air of ease in "Backdrifts", a grooving track that is quickly becoming one of my favorites. In a lyrical and musical sense it recalls their remarkable B-side "Worrywort", both featuring an optimistic approach to the things that keep us all down. Over a fine beat and amazing (I hate to use this fucking word but here goes.) soundscapes, the lyrics seem to suggest that nothing can be changed, so stop the damn worrying. "What the hell, we got nothing more to lose" may be a nice approximation of the whole album. That's not to say the album goes soft- far from it. "Myxomatosis" can easily be described as insane. Myxomatosis, I believe, is a disease similar to rabies, and by God, it sounds like Yorke's got a bad case of it when he sings. The distortion-heavy guitar is ungodly powerful, and the throaty, gravelly vocals sound like he fucking means what he's saying. The fear and insanity of that song are something to be experienced- it does the job flawlessly. We get the same treatment from "Where I End and You Begin", "We Suck Young Blood", and "The Gloaming", three extremely dark pieces that exemplify all the despair and abandon of OK Computer and Kid A in less than five minutes apiece. (All three probably deserve their own paragraph, but I must keep things short!) The final track defines the album just as well as its opener did. "Wolf at the Door", a sad and furious little number is executed with a very sincere passion. It opens on a soft, sad note, the lyrics sounding like some miserable bugger muttering to himself about everything he passes. The astounding chorus will give chills to millions, and with the next verse, this miserable man's mutterings have become full-blown ranting- it feels as though you've just witnessed someone finally snapping, and it ends on a quick come-down, a place that leaves you kind of breathless and very astonished. And kind of rocked. And moved. And loads of other things. In other words, it does what an album does. It lays a fury of emotion out before you then leaves loudly for you to contemplate. But let's get down to brass-tacks here. I'm a fan of all types of music, but I'm also a die-hard Radiohead fan, so if that makes my review irrelevant then I suppose it's a review for die-hard Radiohead fans. Regardless, I'm confident that this album will be accepted as well as OK Computer was when it first exploded. After many hours of listening over and over, I'm beginning to feel this is better than both OK and Kid A, which puts it in the running for my favorite album of all time. I guess we'll see when the actual published reviews start to come out. In any case, I hope there is still some merit to my opinion, and I hope this hasn't been too terribly boring- I realized halfway through that I was doing a song-by-song synopsis of the album, which can be kind of annoying, so I had to cut it off quickly. And, sorry for using clichéd phrases and words like "intense" and "insane" so often, I don't have a thesaurus nearby and I've never really written a review of anything. Let's end by saying this- Hail to the Thief does everything we've wanted from a Radiohead album. Those of us that loved the Kid A/Amnesiac style and those of us that prayed for more Bends/Ok guitars have both been gratified, but in an entirely new format. I'm at a loss for albums or artists to compare this to, and it is just that- unrivaled and pretty damn remarkable. -J. Stiles

So, any opinions or complaints or alternate views can be shipped to renton1995@hotmail.com. Thanks again for reading, everyone!

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Zach
The new Radiohead album is too much to believe.... So fucking tight...

2+2=5- Bizarre rock song. Lots of guitar and insanity courtesy Jonny and Ed with strong bass and drums as expected. Thom's voice is like a massive octopus flying around killing the right wing. Its amazing.

Stand Up Sit Down-The point of this song is to build. It starts like a mix between You And Whose Army and No Surprises. It repeats itself with a few wails and moans as good as thought on The Tourist. By the time Thom's screaming about raindrops the song has turned into something like Idioteque meets rack section of paranoid android in the middle of an alien laser battle. It almost sounds cheesy because of the excellent production.

Sail To The Moon-Not one of my favorite tracks from the western European tour but the beautiful production on the studio track makes it obvious why it made the final cut. Its absolutely like the live version only cleaner clearer and tighter all around. If anything the piano is a bit too reminiscent of ... well ... all the other piano they ever played... This song is without a doubt The Tourist+Pyramid Song+YAWA. The Vocals on it are however far better than the vocals on any of those tracks. a perfect vocal performance by Thom. His voice is large and expansive.

Backdrifts- Okay so this sounds very much like the Pulk Pull style of minimalist electronic however this time with more structure and almost bluesy vocals. This song doesn't make much sense at first. Thom has almost unnoticeable trembles and hooks that really do make this a song you want to sing along to. If I had to say... I would say it was Palo Alto meets Pulk Pull ... but that really doesn't seem right...

Go To Sleep-Folk? Almost. This is the closest Radiohead has been to folk rock since 'Been thinking about you' ... well at least till later in the album. The touch on it even more with I. Will... I was not expecting the track to have such full acoustic guitar. The Travailing baseline gives me a since of Kid A's Midsection. If In Limbo was somehow made into a pop track then this would come close. Eventually the song turns into a moderate rocker with some pretty lose and dirty guitar work from Jonny. He really gives it a Bends feel. meanwhile the rest of the band is playing something similar to a happy sounding OK Computer.

Where I. End and You Begin-Yes. Its just so well done. The song is like the live tracks only everything is put together much better. The band is not rushing this song but they are certainly not dragging. The song moves along at a pace set by Thom. Johnny is having fun making whale noises while Ed is pretending he is playing Optimistic. I think they might have figured out a way to turn Phil into a drum machine ... he does the same thing with the same force and power at the same speed non stop for almost 45 minutes without a single breakdown or light chorus to give him rest. Thom also makes sure we understand he WILL eat us alive.

We Suck Young Blood- No horns:( I wanted horns badly. BUT! it was saved by the fact that they clap! Its really pretty cool. The used the same hand clapping rhythm that the Portuguese chaps did at the live show. Other than that it is the same as live... Still one of my favorites but VERY much in the vain of YAWA

The Gloaming-The aliens are back shooting the place up again. Then a massive bass drum and some ticking... THOM... This is the darkest spookiest track since Climbing up the walls. Perhaps I wont give too much away... I will just say its one of my favorites... Its very dark and ambient while still remanning a song you can sing along to. It is a bit like a graveyard at night.

There There- You lost something in your journey from stage to tape:( You sounded like you were going to be bigger and more climactic... You lost your rad kettle drum almost completely ... go find it... I liked it ... and your guitar never reaches anything other than passably stirring. Keep in mind 'There There' is among the outstanding tracks of Radiohead career... I judge it on a much harsher scale than many of these tracks. It belongs on this album.... This album is a master work and There There still does it justice.

I Will-Beck? Folk? First 5 seconds might make you think so ... but the track defiantly has the distinct mournful jazz quality Radiohead seems to have been making a trademark over the last 2 albums. The political messages are stirring and the harmonies are strange and beautiful. When the song crescendos briefly you cant help but be a little moved. Its gorgeous.

A Punchup At A Wedding- Thoms ode to John Lennon. The took the cracks about it sounding like the Beatles 'Come Together' a bit too seriously and added an unmistakably Beatles guitar and bass part. Its cool thought. It really is. It makes the song into an almost funky groove. from the 30 second mark till the last min or so it sounds very much like a polished version of the live track. There is a a little bloopy noise that seems to remind me of no doubt that comes in at the end. I never thought Radiohead would remind me of no doubt ... but its not in a bad way. Its just got a 'Hella Good' kind of thing going on (Very slightly.) This was not my favorite track live and it is not my favorite track recorded. It is however one I will remember. Its got staying power.

Myxamatosis- Best over all transformation from live to studio. Jonny sicked his pro-tools on it and came up with some, as Thom says, "UGLLLEEEEEYYYYYY KEEEYYYSSS." The actually remind me a lot of the fruity loops violin noise *looks at Jonny and squints* but we wont go there. It works either way. The whole song is just sinister. Best Chorus on the album.

Scatterbrain-Perhaps my least favorite track live and on the album. That is not to say its not beautiful. It sounds exactly as it did live only with better vocals. Thom makes the song. The song really becomes worthy of the album midway through when subtle keys come in and Thom's voice begins to refract and echo all around. The effect is pretty standard for the album and helps make it so moving. It really feels as though he is in front of you.

Wolf At The Door- Ahhh yess... a strange filtered and fucked harpsichord compliments the guitar nicely. Thoms rap is perfect. He sounds assured and honest. The hint of helplessness in his voice is perfect for the song. Another subtle and beautiful arrangement by Jonny gives this song the same melancholy yet hopeful aura the tourist has. This is among the best music has to offer.

My intent in writing this was not to describe the album in perfect details to those who have not yet heard it. This is simply my impressions upon second listening. It might only be understood by someone else who has heard it ... take it for what it is worth.

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Doug Bain
Brilliant ? I surely wouldn't say brilliant, considering that at this point, I'm a hell of alot more impressed with the live versions by far. I say this because I guess I was expecting alot more than what I heard. Hopefully, this can be attributed to them not being the final master...I'm preying that they're not, because if they are, I'm really disappointed.

First of all, NO STRING SECTIONS ?! What were they thinking with this move ? I thought that at least "We suck young blood" or "Sail to the moon" would have deep, lush strings reminiscent of How to disappear ...but instead, We suck young blood seems really straight foward, and boring, and Sail to the moon, has these cheesy synth effects that are just lame compared to what a string section could have done with the song.

On top of this, I think that Thom sounded a bit cold, and unemotional compared to what he usually sounds like. It sounds like everything was rushed. A couple of tracks sound ok, but overall, I think I was spoiled by the live tracks, and expected too much.

Personally, I think another 3 year hiatus is in order....

Regards,
Doug

I owe myself and other RH fans an apology. I was whaaaay too quick to open my mouth. I burned the album last night so that I could listen to it on the train this morning and on the way back home. Well, here's my second impression:

If it wasn't for the genius of Radiohead, I'd have been one pissed off MTA commuter this morning. Some "police activity" at 42nd street casued immense delays for many subway riders this morning...causing much stress, tension and a general pissy mood for all parties involved. Well, on the music went and Off I went into La La land. My headphones get a really good seal, so it was just me and Radiohead. The first thing I noticed, was that people were staring at me, (including this really georgeous red head) because I was so ...animated :) Bouncing my head, thumping my feet, swaying my body and singing as if I actually could keep up with Thom... The second thing I noticed, was that I had a shit eating grin on my face and didn't care about the stupid half hour delay I was caught in because I was enjoying the music so much. Apparently, my portable did more justice for these MP3's than the shite speakers hooked up to my pc, but I digress.

Here's what happened to make me so quick to judge: I was analyzing the hell out of every track, thinking that certain things that I hoped would be in there after hearing the live San Sebastian tracks, weren't and that made me angry. Not once thinking that these weren't the finished product. I didn't even care to listen to the songs and try to appreciate them for what they were. And what I've realized is that they are really great songs ! I've always loved the songs themselves, judging from the live ones....and I still listen to them all the time...but certain things didn't sit too well with me such as knowing that things didn't sound EQ'd properly etc...but enough of the negative and on to the positive.

I absolutely FUCKING LOVE "The Gloaming" ! What a piece of ass that song is ! Not to mention "Backdrifts" and "I will" These are some beautiful pieces to say the least. "Sit down/Stand up" is crazy...I love it. I'd still really love to hear some strings in tracks like "We suck young blood" and "Sail to the moon" and perhaps there will be, but otherwise, it's definetely going to be a classic...right next to Ok Computer for sure.

Doug Bain