Summary:Not quite the return to the "rock" side of Radiohead as originally believed (although pretty close), the band's sixth album (produced again by Nigel Godrich) retains some of the experimental electronica elements of its predecessors Kid A and Amnesiac. Note that each of the tracks on theNot quite the return to the "rock" side of Radiohead as originally believed (although pretty close), the band's sixth album (produced again by Nigel Godrich) retains some of the experimental electronica elements of its predecessors Kid A and Amnesiac. Note that each of the tracks on the album has an alternate title, as does the album itself (aka 'The Gloaming').…Expand
For its moments of gravity and excellence, Hail to the Thief is an arrow pointing toward the clearly darker, more frenetic territory the band have up to now only poked at curiously.
While it’s unrealistic to expect another Kid A-like transformation, by pulling all those familiar elements together, Hail to the Thief sounds, well, a little familiar. [Note: Score listed is an average of two separate reviews: a 68 and a 90.]
It would appear that many of the lukewarm or negative reviews of Hail to the Thief have more to do with the density of this album [rather thanIt would appear that many of the lukewarm or negative reviews of Hail to the Thief have more to do with the density of this album [rather than any sub-standard songwriting on Radiohead's part]. Compared with the sparser textures of Kid A and [to a lesser extent] Amnesiac, which made these records more accessible despite the music's experimental nature, Hail to the Thief is thick with sound and heavily layered. Not only does this mean that more plays are needed to get to grips with, and appreciate, the power of the songs and their many subtleties, but also that listening to Hail to the Thief is exhausting - a result of the dense texture combined with a sense of melancholy and heaviness that saturates the 14 tracks. The fact that O'Brien and Greenwood have picked up their guitars again as well as the band continuing to use electronic sounds means that Hail to the Thief can be likened to Radiohead around the time of The Bends/Ok Computer playing at the same time as Radiohead circa Kid A. Given this, it is no wonder there is a lot going on, sonically.
As ever, Radiohead are breaking a lot of new ground here, as is especially apparent in tracks like A Wolf at the Door [musically pretty verses with a Yorke's drunken stream-of consciousness overlaid, and a simple, catchy, and highly effective 'The Bends'-like chorus], and the dance-like Backdrifts [with the chord progression that sounds like it should go with a piano ballad, but rhythmic elements and electronic pips that belong on the dancefloor]. However, there are plenty of nods to previous albums in Hail to Thief; Johnny Greenwood's shimmering octave-up guitar effects on Sail to the Moon are reminiscent of Subterranean Homesick Alien, and his playing on Go To Sleep could easily belong on The Bends.
Hail to the Thief also has its share of Radiohead's signature melancholic beauty, in the piano and glockenspiel opening of Sit Down. Stand Up[before it is shattered by a storm of electronic and vocal raindrops], the soaring slowness of Sail to the Moon, and pure vocal harmonies in I Will [surely Radiohead are masters of making anger something so beautiful]. The Upshot: All these factors combine to make an album that's success is due to the right mix of original sonic experimentation and elements from their previous albums. Of all their studio albums, Hail to the Thief is likely the most difficult to digest and comprehend, but to do so is certainly worth it. Persevere in getting to know the songs intimately, and be rewarded with the emotional power and musicianship of Radiohead at their very best.…Expand
In Brief: Excellent album!!! Judging by the reviews that have been appeared in the Metacritic so far, I really didn't expect from most In Brief: Excellent album!!! Judging by the reviews that have been appeared in the Metacritic so far, I really didn't expect from most of "professional reviewers" to treat it fairly. Take NME for instance... their empathy towards Radiohead is well known. While praising Coldplay and insisting that it's the best rock group that exists at the moment (...forgive them Father...), it's Radiohead the ones who wants to take their musical art one step further. In this album they managed to combine the experimental elements of their last two contributions with the straightforward forms of their earlier works (especially The Bends and OK Computer)...it's like the missing link, but truly this album sounds extremely refreshing and modern. Yorke's vocals reveal his maturity as a singer once again, especially in songs like "I Will", where his falsetto should be studied in musical schools. Strong melodies (some even catchy), demanding songs, poetic and emotional lyrics, a magnum opus in general without doubt. I really can't see a failure coming from Radiohead's camp coming any time soon. Listen for yourself and leave the NME crap behind...those guys have proved in the past their inability to foresee the future and appreciate/rate a band/album.…Expand
this album is it's own genre."sail to the moon" with it . this is a perfect album containing elements of all things radiohead.political butthis album is it's own genre."sail to the moon" with it . this is a perfect album containing elements of all things radiohead.political but not preachy true collectors item.…Expand
A weaker effort than what they've done since Pablo Honey, but still a good Radiohead album. What really makes it weaker is how uneven theA weaker effort than what they've done since Pablo Honey, but still a good Radiohead album. What really makes it weaker is how uneven the album is. About 2-3 tracks longer than a usual Radiohead album, there are a number of songs ("Backdrifts", "We Suck Young Blood", "Scatterbrain") that shouldn't have made the cut, but somehow managed to. I would sitll highly recommend it, though, because it's still several notches above most of the "fridge buzz" out there.…Expand
