March 2011
ALBUM: THE KING OF LIMBS
March 2, 2011
I’ve long been very suspicious of the many Radiohead haters out there, especially the ones who used to be big fans. Now, it’s okay if you just plain ‘ol don’t like the band anymore, but if you are out there rallying against the band, talking trash and saying “they suck,” then I’ve got my third eye aimed at you and your suspicious motives. Why? Well, because I think incredibly highly of Radiohead, both as artists and as a symbol.
Here’s the thing: since the end of The White Stripes just weeks ago, you won’t be able to find me a band working at their level (festival headliners, Grammy performers, magazine cover regulars, endcap foci, etc.) who are out there doing exactly what they want to do with no compromises or outside influences. They write politically controversial lyrics and play music that, to mainstream ears, is often challenging. And sure, the songs aren’t as accessible as they used to be. And if you don’t like that, fine, move on. But faulting a band - especially a band at their level - for continuing to grow and follow their own artistic instincts? Well, shame on you. Your motives make you look like someone who doesn’t understand the point of art - to create, grow, express and challenge. Radiohead, without a doubt, are cutting edge artists who do all these things, and have been doing them quite successfully since The Bends came out almost two decades ago. That they’ve kept their edge all these years, and through so much commercial success, makes them the mainstream band of their time. Not quite the Beatles level of long term artistic relevance but far surpassing Pink Floyd and bands of a similar level of artistic and creative success.
Me, I’m a hardcore Radiohead fan and believer dating back to 1997, when the genre-changing OK Computer was released and I was first growing hair on my face. Yeah, my enthusiasm for their music has dropped steadily since Hail to the Thief was released, but my admiration for everything they’d done (and how they’ve done it), including the brand new The King of Limbs, has only grown. In fact, it’s Limbs, an amazing record that came out of nowhere, that has me saying all of these things - coming to all these revelations. Clocking in at eight tracks over 37 minutes (and released once again in a wholly original, independent manner), Limbs is the band’s most cohesive and powerful release since 2000’s now-classic game changer Kid A.
Where In Rainbows was a somewhat accessible record (for this band, at least) that was driven by the band’s live performances, Limbs is an absolute studio record that has the feel of an art project carefully built in a room, by masters, very meticulously and over a long period of time. The guitar arrangements still aren’t the OK Computer-like focus that everyone wishes they’d be, but Phil Selway’s always-great percussion work steps up in a major way, the result being an album that features some of the best drum arrangements and production you’ll ever hear. Longtime collaborator Nigel Godrich, who has been involved with the band since The Bends, once again produces, offering his golden touch to the band’s dark, complex and nuanced sound ... [Continued]
SCREENTIME: OSCAR AND UNCLE
March 1, 2011
James Franco, you silly, silly dude. I’ve loved ya since “Freaks & Geeks” and have, like many, quite enjoyed the nutty couple of years you’ve recently put together. Your performance as co-host at this year’s Oscar show keeps your leftfield run going strong. Were you high? What were you looking at all night? Was that experimental enunciation or were you preparing for a new soap opera character? No need for answers, I thought the performance was a treat, and easily the most interesting part of the night. Sure, it made a lot of old farts happy that the very good The King’s Speech won Best Actor, Best Original Screenplay, Best Director and Best Picture. And sure, I was glad that an art house movie featuring a great, great cast did so well. But damn, I though this year’s show was one of the worst of recent memory. That said, on my tally sheet I got all 11 major awards correct but one, Best Director. I had David Fincher down instead of Tom Hooper, who did do a great job. My Wish List, however, is a different story. Most of those picks were wrong. Wins for Aaron Sorkin, Natalie Portman, Christian Bale, Randy Newman, Wally Pfister and the run of technical wins for Inception all made me happy, as did every second of screen time the producers gave the drop dead gorgeous Jennifer Lawrence. As a whole, I’d say that the night was a definite bummer. The King’s Speech is a great movie, but not one that will stand tall as a deserving Best Picture winner. In my book, as long as Christopher Nolan is making movies, there are very few who can compete with him. My pick for best picture of 2010? Hmmm … tough call. I’d have been happy with Inception, The Social Network or Black Swan. Or even Another Year, which wasn’t nominated. Oh, and one more thing: weren’t we all kinda/sorta waiting for the next piece in the Banksy puzzle? Talk about a let down ... [Continued]