Radiohead - A Moon Shaped Pool (2016)

Just so you guys know, this was my album review ever. Wrote it for a college class last year.

Radiohead is undoubtedly one of the most unique bands of modern times, as evident by their constant stylistic changes since their song “Creep” hit the airwaves in 1993. They transformed from a typical alternative rock band into an eccentric group that utilized digital instruments as much as real ones. They went with a simple approach for the ninth record, and sometimes less is more as they say. This album has a gentler feel, absent of the hard-biting moments of albums past. They used to occasionally crank up the distortion in songs like Paranoid Android or Bodysnatchers, or use pulsating drumbeats as present on Morning Bell. Instead, the songs on a Moon Shaped Pool build up to a climax, usually minimalist only to add instruments gradually. This approach allows the songs to have a lasting impact while being simple in structure. The album is surprisingly accessible; most of the songs are ballads with relatively simple configuration. Unlike the avant garde approach that Kid A and Amnesiac took, this album goes back to the basics while adding new elements. With that said, the band did not sell out. The songs still have the bleak timbre that avid fans have grown to love, mixed with a precarious beauty. 

This was the band’s most complete album since 2007’s In Rainbows, and it has a more cohesive sound throughout. Johnny Greenwood’s work with the London Contemporary Orchestra greatly improved his string arrangement ability, which shines through acutely on this record. Strings have always been a background seasoning for Radiohead’s music, but they often found their way to the forefront here. 

A Moon Shaped Pool is Radiohead’s first studio album since 2011’s King of Limbs, which was widely viewed as disappointing. The idea of using two drummers wasn’t exactly executed properly, giving the album a choppy, disjointed feel. Considering the albums’ name was a reference to this added emphasis on percussion, the whole thing felt forced. After a short hiatus, then having their theme song for the Bond movie Spectre get rejected after being recorded, the band came into this album with supreme focus. 

The album opens with “Burn the Witch”, a rare song where the strings are the primary instrument. This song utilizes of combination of low bowed strings with high pitched ones played with a guitar pick. The song has a unique sound due to this atypical style of play, and it grabs the listener immediately. The second song, “Daydreaming”, is built off a simple piano arpeggio but is executed perfectly. The dreamy nature of the song is accentuated by Thom Yorke’s powerful vocals and well placed strings. This song feels like an epic, as the song goes from soft to intense without the main melody changing. This song is sort of a microcosm for the entire album; powerful subtlety encased in simplicity. “Decks Dark” is the first song where we hear guitar, although it is not until mid-song. The first verse consists only of drums and a minimal piano loop, before the rest of the instruments kick in. Despite a pretty generic verse, the chorus is spectacular. It is both melodic and eerie, and it brings the rest of the song together. Also, it boasts the first of many memorable basslines in the record, especially in the second verse. The fourth song, “Desert Island Disk”, is the most stripped down song on the record thus far. It has an almost folksy feel, as the prominent instrument is acoustic guitar. 

“Ful Stop” is my personal favorite song of the lot, as it may be the most powerful one musically. Although it starts with a four-minute long intro of repetitive bass and drums, the song does not disappoint when it kicks in. It features a janky riff played by one guitar, which is complimented nicely by an arpeggio played on the other. The song uses two drummers like King of Limbs, but they are blended suitably this time. Thom Yorke has arguably his best vocal performance, highlighted by the high notes he hits. This is the most energetic song on the album, even if the lively part is short lived. This song slowly builds to a crescendo, hits that apex, and then comes back to earth. After the short, string-bathed interlude “Glass Eyes”, another epic entitled “Identikit” begins. Verse one features Yorke singing over a monotonous drumbeat and a delicate bassline, before a wave of synthesizer kicks in. The second verse is a far more grandiose interpretation of the first, and features arguably the best guitar riff on the album. “The Numbers”combines soothing chords with another top-notch bassline, akin to the “Decks Dark”. “Present Tense” is a nice bossa nova inspired serenade which sets the table for the last part of the album. “Tinker Tailor Soldier Sailor Rich Man Poor Man Beggar Man Thief” does a nice job of blending old and new, as it starts using digital instruments before changing to real ones. This song seems to belong in a movie, as it takes you on a musical journey. Again, the string work is near perfect here. The final track, “True Love Waits”, had been the bands’ most popular unreleased track since it was first performed in 1995. It has existed in many forms over the years, but this stripped-downversion feature simple vocals over layered pianos. This is a poignant punctuation for the record, instead of a fiery masterpiece.

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Despite all the positives, A Moon Shaped Pool May have been an unexpected change for diehard fans. Sometimes the drawback of constantly pushing the creative envelope is that different fans will extol different parts of your catalogue. Fans who idolized OK Computer may have hated Amnesiac. I, however, have been fascinated by their artistic journey. They have two unique factors working in their favor; they are not signed to a major label, and they have worked with the same producer in Nigel Godrich since their second album The Bends. The former allows them to be their own boss, and the later provides great stability despite their musical changes. Radiohead has always put creativity over mainstream success, a testament to their ability to stay relevant despite not being all over the radio. This album was a much better representation of the band than “King of Limbs” was, although it might not have been everything fans expected. The albums’ somber tone may be a sign; there has been rumors this album will be their last. This may just be speculation, but it would explain why it feels like a swan song. All in all, A Moon Shaped Pool was a success in my eyes. The songwriting was on point, there was no filler, and the end tied up nicely. The orchestral work was a nice touch as well. I hope that is present on albums to come, assuming that this is not the end.