Volume 95, Issue 4

Thursday, June 14, 2001


Rock'n'Roll is saved Static in Stereo to the rescue

Modern music little more than marketing

Disc of the week

Rufus proves he's Queer As Folk

Disc of the week




For anyone new to the Radiohead macrocosm, Amnesiac, the band's fifth album, may be a bit more difficult to digest than their previous efforts. 

It's a thick, juicy album exploring every aspect of the band's creativity, making it very easy to choke on if you don't savour and appreciate it for it's complexity.

Amnesiac is comprised of material left over, unfinished or not suited for last fall's Kid A. “Morning Bell,” which actually appears on Kid A, reappears on Amnesiac. It is an odd addition to the album, and although it deserves merit, it may have been better suited as a b-side. 

The first single, “Pyramid Song,” proves Radiohead has developed a formula for certain types of songs. As one of the album's best offerings, it's reminiscent of Kid A's “How to Disappear Completely,” which in turn was reminiscent of the Bends' “Fake Plastic Trees.” “Pyramid Song” is a brilliantly written track, built on soothing piano chords and a well-conceived melody. 

“Like Spinning Plates” is similar to the song “Kid A” from the album of the same name and continues to explore lead singer Thom Yorke's fascination with the distortion of his own voice.

One of the album's most compelling tracks however, is the jazz influenced “Life in a Glasshouse.” It's one of those rare political songs that isn't too clever for it's own good and it's well-suited with the accompanying chorus of jazz horns. 

Amnesiac should be thought of as nothing more than “Kid B,” the leftovers of Kid A. It's a remarkable achievement considering it was released only eight months after their last album. 

While it may not be everyone's cup of tea, Amnesiac is definitely a tasty treat. 

Christopher Hodge


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