Bodysong

Sooner or later major bands inevitably spawn side projects. I’m not sure about you, but I can’t wait for the up-and-coming Gwen Stefani solo hip-hop album, which I’m sure will rival Debby Harry’s 1981 solo adventure, KooKoo. Luckily, Thom Yorke hasn’t yet attempted a solo album; I’m not sure if Radiohead have dejected their listeners enough to prepare for the degree of anguish a Yorke solo album would likely muster. Multi-instrumentalist and (sometime) guitar hero Jonny Greenwood steps to the aesthetic helm on Bodysong, Radiohead’s first “fans only” album. 

Being that it’s a soundtrack for a silent documentary by Simon Pummell about “the human condition” (or something), you can pretty much expect the inverse of “High and Dry,” and no, Bodysong doesn’t sound a thing like “Kinetic.” You wish. Aside from a handful of jazz-fusion tracks and a couple underdeveloped “mood inspiring” cello based songs, Bodysong has a roughly lucid formula.

First off, forget the drums, at least for the most part. Have your brother (Colin Greenwood, also of Radiohead) help out. Bury his bass deep in the mix and, most importantly, ignore that you ever played guitar on “Subterranean Homesick Alien.” Now, the stage is set for “exploring the human condition.” Oh yeah, one last thing: lock your suspected secret weapon, producer Nigel Godrich, out of the studio for once. He’s probably too busy making coat hanger-based songs with The Beta Band anyhow.

“Moon Thrills” starts Bodysong off on the right track. Greenwood tinkers with a wide variety of instruments and plugs in his ticks and beeps for what is a very elaborate, slow instrumental opening. “Moon Thrills” sets a good standard for Bodysong as well as working as a blueprint for the majority of the score. Beginning with an odd vocal sample and diffused sting arrangements, “Moon Thrills” goes on to be led by a distant synth orchestra and a piano not unlike the one heard in Radiohead’s “You and Whose Army.” If you’re looking for something to listen to at the airport (hint hint), the bulk of Bodysong (that isn’t jazz fusion or string based) should be to your liking.

I’m sure the string arrangements worked well in the film, the same can’t be said for the album. The string-n-synth based songs, such as “Iron Swallow,” “Tehellet” and “Peartree” are too minimalistic and hardly bear out repeat listens. Bodysong is essentially about two things: the exciting sound of Bitches Brew-style fusion (with a touch of electronica) heard on three tracks; and namely, the arrival of Jonny Greenwood as an engaging and proficient producer/arranger.

“Splitter,” the album’s best song and likely contender for song of the year, sees Greenwood accompanied by The Emperor Quartet, who also join him on “Milky Drops from Heaven,” likely Bodysong‘s second-best track. The two jazzy songs sound like authentic 70s fusion with a touch of electonica and swirling production.

Yorke has always listed The Pixies as his influence; Greenwood, however, typically points the finger at Sonic Youth’s Thurston Moore. In the late 90s Sonic Youth released a series of mostly instrumental, avant-guard EPs; Thurston’s work on those, along with Greenwood’s desire to pay homage to another of his heroes, Miles Davis, work well as reference points for Bodysong.

This isn’t Greenwood’s coming-out party. His hair still covers his face, and he still thinks he comes off as stupid in interviews. After OK Computer, it was clear that Greenwood was an explosive guitar player; now with Bodysong we see Greenwood as a top-notch, innovative producer and a fully capable conductor.     6/10

Written by G. William Locke