The English rock band Radiohead have released nine studio albums, one live album, five compilation albums, one remix album, nine video albums, seven EPs, 32 singles, and 48 music videos. Their debut album, Pablo Honey, released in February 1993, reached number 22 in the UK, receiving platinum certifications in the UK and US.[1][2] Their debut single, "Creep", remains their most successful, entering the top 10 in several countries. Their second album, The Bends, released in March 1995, reached number four in the UK and is certified triple platinum.[1]

Radiohead's third album, OK Computer, was released in May 1997. It remains their most successful album, reaching number one in the UK and Ireland and the top 10 in several other countries.[3][4] It was certified triple platinum and produced the UK top-ten singles "Paranoid Android", "Karma Police" and "No Surprises".[1][3] Kid A followed in October 2000, topping the charts in the UK and becoming first number-one Radiohead album on the US Billboard 200.[3][5] Amnesiac was released in May 2001, topping the UK charts and producing the singles "Pyramid Song" and "Knives Out". Hail to the Thief was released in June 2003, ending Radiohead's contract with EMI. It was Radiohead's fourth consecutive UK number-one album and was certified platinum.[1][3]

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Radiohead released their seventh album, In Rainbows, in October 2007 as a download for which customers could set their own price; a conventional retail release followed. It sold more than three million copies in one year. "Nude" and "Jigsaw Falling Into Place" were released as singles; "Nude" was Radiohead's first top-40 hit on the US Billboard Hot 100 since "Creep".[6] Radiohead released their eighth album, The King of Limbs, in February 2011. It ended their streak of number-one albums in the UK, reaching number seven,[3] and is the only Radiohead album not to be certified gold in the US.[7] In April 2016, following the purchase of EMI by Universal Music, Radiohead's back catalogue transferred to XL Recordings, who had released the retail editions of In Rainbows and The King of Limbs.[8] Radiohead released their ninth album, A Moon Shaped Pool, in May 2016,[9] backed by the singles "Burn the Witch"[10] and "Daydreaming".[9]

Welcome to Defector Music Club, where a number of our writers get together to dish about an album. Here, Israel Daramola, David Roth, Giri Nathan, Patrick Redford, and Lauren Theisen share their thoughts about Radiohead's momentous 2007 album In Rainbows.

ID: One thing I do want to say is, I disagree that it doesn't connect to today. I think its surprising how much modernity there is on here. Both in an impressed, this-could-come-out-tomorrow way but also in a read-too-much-Mark-Fisher way that gives me a lot of anxiety. The time between now and 2007 would be like if I was in 2007 and listening to an album released in 1990. That's worlds different sonically, musically, even if there was some cool, ahead-of-their-time stuff on it. It worries me how little music has changed in the last 20 years. It worries me how little a lot of things have changed, but music is a lot more fun to complain about.

The highest compliment I can pay to Liars' WIXIW is that it's probably the album I've enjoyed listening to the most over the past year or so that I can't imagine putting any songs from onto a playlist. There are plenty of standout moments (see above), though the claustrophobia of the album is too delightfully woven to imagine airing out alongside really anything else. It sounds like what Alex Garland thinks an EDM record is; it sounds like you dipped The Warning into a puddle of haunted black sludge. It barely sounds like any other Liars record.

OK Computer: much like the album, you are passionate but neurotic: the world has left you angry and disappointed, and you responded by becoming sharp and cold. you appreciate the strange time signatures. you are not afraid of the dark. you are warm on the inside, but cerebral: the fire that gives you all that intensity is in your mind, not in your heart.

With the release of its ninth album, A Moon Shaped Pool, Radiohead may finally have wriggled free once and for all from the expectation that it'll save modern music. That's likely fine with the band members, who never wore the mantle of rock gods lightly. We might not all agree, if we ever did, that it's the most important band in the world, but what A Moon Shaped Pool makes clear is that Radiohead has built, in its 30 years, an audience that will ponder its smallest gestures.

Ann Powers: The first song that jumped out at me from the muddy lily pond that is A Moon Shaped Pool was "The Numbers." It's like an expansive blending of Neil Young's "Old Man" with Patti Smith's "People Have the Power" with some Eurodisco strings thrown in, and the most openly inspirational call to action on this album. I'm not the only listener to have identified a gospel feel in here; when Yorke gets almost melismatic on the phrase "The future is inside us," it's as close as he's ever come to channeling his inner Beyonce. Upon hearing it, I immediately wished for a mash-up with Queen Bey's Lemonade catharsis, "Freedom."

Yorke's grown increasingly more soulful as a vocalist over the course of Radiohead's career, though he still loves the flat affect that speaks for his inner android, even on "Desert Island Disk," this album's cautiously hopeful, post-breakup call for "different kinds of love." Yet it's obvious that in the five years since King of Limbs, the band has registered the rise of a new kind of soul music that as sonically experimental and emotionally unpredictable as its own twisted take on realness. Many are identifying A Moon Shaped Pool as more in line with the pastoral legacies of auteurs like John Martyn, but I'm also hearing Radiohead rise to the challenges put forth by Frank Ocean, who had fun sampling the band on his groundbreaking 2011 album Nostalgia, Ultra, or Janelle Monae's pal Roman GianArthur, who stirred up a brew of D'Angelo and Radiohead ingredients on last year's EP OK Lady. With its obvious acolytes like James Blake also showing a huge debt to the experimental side of soul, the band seems to be making sure that its hybrid sound acknowledges its roots in Afro-Futurism as well as on progressive rock's dark-sided moon.

Framed and colored largely by the dissolution of Thom Yorke's 23-year relationship with the artist Rachel Owen (they have two children together), A Moon Shaped Pool will go down as Radiohead's most emotional, most heartbreaking and most beautiful album in a well-stocked catalog of dark but gorgeous set pieces.

In some ways A Moon Shaped Pool is a lot like Beck's 2002 album Sea Change. Both are lushly produced, string-heavy albums built on mountains of deeply personal heartache. (Both were also produced by the visionary Nigel Godrich). Like Sea Change, A Moon Shaped Pool will also most likely polarize fans who either want the band to return to its early guitar-rock roots (Pablo Honey and The Bends) or prefer the more emotionally remote, dystopian mutterings of albums like OK Computer or Kid A. But also like Sea Change, A Moon Shaped Pool will ultimately be regarded as a triumph for a band that finds itself easing into quiet middle age, drawing from a well filled long ago with pennies, but no less inspired or cunning.

Jacob Ganz: I didn't buy it at first. As my wife said when I told her A Moon Shaped Pool was supposedly Thom Yorke's break-up album, "How would you know?" 2016-era Radiohead sounds as lost and forlorn as Radiohead from literally any other era, though perhaps not as angry as the time of "Fitter Happier," when the songs were a brittle bunch of street corner prophets that fit the Fight Club-era, seriously-sheeple-won't-you-pay-attention mold of the white man on the brink. (We are Jack's solemn warnings about the mindlessness of humanity.) You know, back when the band was stretching its panic attacks into seven-minute multi-part freak-outs that did flaming barrel rolls through the stratosphere rather than letting them fly low.

Tom Huizenga: You could always tell who wrote a song in the Lennon/McCartney partnership. It's less obvious with Radiohead. Yet the latest album appears to lean heavily on Jonny Greenwood's classical experience. Greenwood has long harbored strong taste for modern classical music. He was the one who, on Saturday Night Live in 2000, played the ondes martenot, an early electronic instrument associated with one of his idols, the French master Olivier Messiaen. The Radiohead guitarist is also a fan of Kryzsztof Penderecki, the Polish legend whose sonic innovations in string textures Greenwood emulates on the new album's opener, "Burn the Witch," and on his earlier orchestral piece, Popcorn Superhet Receiver.

In recent years, Greenwood has become visible as a film score composer (There Will be Blood, The Master, Inherent Vice) and it appears his classical music sensibilities have infiltrated A Moon Shaped Pool more than usual. Nine out of the album's 11 songs make room for either the London Contemporary Orchestra or a 13-member female choir, or both. Strings are sometimes deployed for color and effects. Near the end of "Daydreaming," the glissandos and hiccupped rhythms mimic the backwards tape sounds heard earlier in the song. In "Glass Eyes," strings play a larger role, emerging seamlessly from the muted keyboard and electronic introduction, blooming into shifting pools of sound, nearly overtaking Thom Yorke's languid vocals. Even songs that do not sport the obvious classical trappings feel orchestrated. "Ful Stop" lays down a muted electro beat but as layers are added and interleave, the sound reaches a complex, and fascinating, canvas of sound and color.

Stephen Thompson: Two years ago, Radiohead's Thom Yorke dropped a solo album called Tomorrow's Modern Boxes with no advance warning; it just showed up, available for free download, for everyone to hear all at once. It happened to show up a moment or two after I'd stepped out of the office to run an errand, and in the time I was gone, the social-media chatter went from, "Whoa, there's a new Thom Yorke record!" to "Meh, a new Thom Yorke record" to virtual radio silence. By the time I got back to my desk and learned of its existence, it felt as if it had already been digested and forgotten. That's the most dangerous downside to releasing albums with little to no notice: that, for every Lemonade that merits weeks of thinkpieces and obsessively analytical repeat listening, there are drab also-rans like Tomorrow's Modern Boxes, which are forgotten practically the instant they arrive. 0852c4b9a8

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