They are "a band of intellectuals", it tells us the mirror. They are hailed as "perhaps the best rock band of today's days", but sometimes subordinated to them, as Nick Hornby in his column of the New York Times, a "just-related benefits." You are Radiohead - a band whose plates one can hardly do justice without undergoing painful Always re-hearing and pursue a long list jazz electronics references that pretty much can come to the edge of his knowledge every critic. And it does not get easier. "Hail to the Thief" combines all the special, which has ensured that Radiohead "as perhaps most intriguing band in the world" (Musik Express) applies. Plate test online shows it on: The monolithic bulk of "Kid A", the pastoral exaggeration of "OK Computer", the rockistische exuberance of "The Bends", the gentle comfort of "Amnesiac" - all this combines to those 60 minutes of music under one title, is related to the politically manipulated Lung. "Hail to the Thief" is not only the name of the album, but also and above all a slogan anti-Bush movement. Musically, we find strong guitar discomfort, dark psycho trips, moving to the edge of the previously valid harmony and hear - of course - the sounding of immortal songs. Or Song particles. For something as simple as a song is not a stay with Radiohead. What we find juxtapositions are rather musical ideas, in which Yorke combines its strengths. He takes us on panic, frantic ride through meditative lines of text repetitions, presented brit rocking guitar thunder, works with Sequenzerloops, baroque and chamber music parts. And it is, as you will find this musical ingenuity in every single song part, in each row, second, in each - and we are exaggerating just a bit: Note. So many Kleinstkosmen fantastic musical ideas in a single line. And the x1000 makes a song - no, not a song (that we had). But this track unit in turn multiplied by 13 results in the macrocosm, the album "Hail to the Thief". And in this macrocosm there is so much to discover that a continuous listening to the disk will not fail. For this, however, the ears, gradually rewarded with ever more clearly appearing magnificence: computer gadgetry that raised great harmonies that are even outside the classical aesthetic counterpoint reversals - or also, quite specifically, analog-fashioned conservatism as the beginning of the first folk-heavy "Go To Sleep". And, well hidden from apparent smooth running, polyrhythmic structures. Everything so completely entangled, that itself is determining the musical scale to a virtually impossible task. Dur? Moll? Actually it does not matter! And a musicologist would look now not sufficiently demanded analytically, so he may like venturing into polytonality of "We Suck Your Blood" - and it will be hardly possible to him. And who is not yet convinced by all this musical brilliance - who still, as the initially mentioned Nick Hornby, a "cause benefits" assumed or who like the "New Musical Express" in the much-heralded first global review of "loss of feelings "talks - the be invoked against that Radiohead also another development to all musical somersaults" have Kid A "and" Amnesiac finished ". Everything sounds light-hearted, and even sing along falls back easily. And, although Yorke once again pulls out all the facets of his singing technical skills. Time Monteverdi opera-Kastratenton, sometimes suffering, later mockingly ironic, sometimes punky, definitely always present - always at the forefront. Always the center. The black thread Durche an all around fantastic work. And since it's also not much that the metaphorical lyrics are not necessarily easy to interpret. It would not even fit, if it were otherwise. So Radiohead are complex but enjoyable and for a listener who indulges his musical horizons a challenge, a real treat. But, despite all the brilliance and despite the highest score consistently needed, just only for this variety handset. For but a piece of great art does in front of them. Each time the Repeat button a little longer.
