Their limit was that they were more form than content, more "hype" than message, more nothing than everything. Radiohead became masters of the artificial, masters of minimizing the emotional content of very complex structures.Īmnesiac (2001) replaced "music" with a barrage of semi-mechanical loops, warped instruments and digital noises, while bending Thom Yorke's baritone to a subhuman register and stranding it in the midst of hostile arrangements, sounding more and more like an alienated psychopath. Radiohead moved as close to electronica as possible without actually endorsing it. All sounds were processed and mixed, including the vocals. The sound of Kid A (2000) had decomposed and absorbed countless new perfumes, like a carcass in the woods. Since thee production aspects of music were beginning to prevail over the music itself, it was just about natural to make them "the" music. It was, more properly, a new link in the chain of production artifices that changed the way pop music "sounds": the Beatles' Sgt Pepper, Pink Floyd's Dark Side Of The Moon, Fleetwood Mac's Tusk, Michael Jackson's Thriller.ĭespite the massive doses of magniloquent epos a` la U2 and of facile pathos a` la David Bowie, the album's mannerism led to the same excesses that detracted from late Pink Floyd's albums (lush textures, languid melodies, drowsy chanting). The album was a masterpiece of faux avantgarde (of pretending to be avantgarde while playing mellow pop music). Then OK Computer (1997) happened and the word "chic" took on a new meaning. They had begun as third-rate disciples of the Smiths, with albums such as Pablo Honey (1993) and The Bends (1995) that were cauldrons of Brit-pop cliches. Radiohead, the most hyped and probably the most over-rated band of the 1990s, upped the ante for studio trickery. Thom Yorke: Tomorrow's Modern Boxes (2014), 4.5/10 ( Copyright © 2016 Piero Scaruffi | Terms of use) Radiohead: biography, discography, reviews, ratings, best albums and Courtesy of EMI Records Ltd.The History of Rock Music. Performed by Peter Dante, Lance Bass & Augie's Side EffectĬourtesy of Hollywood Records, Inc. Performed by Lance Bass & Augie's Side Effect Written by Neil Sedaka, Howard GreenfieldĪrranged, Programmed and All Instruments Played by Ted Perlman Written by James Blunt, Amanda Ghost, Sacha Skarbek Written by David Bowie, Freddie Mercury, Roger Taylor, Brian May, John DeaconĬourtesy of Hollywood Records, Inc. and Courtesy of Atlantic Recording Corp.īy arrangement with Ocean Park Music Group Written by Tony Banks, Phil Collins, Mike RutherfordĬourtesy of Virgin Records, Ltd.
Written by Thom Yorke (as Thomas Yorke), Ed O'Brien (as Edward O'Brien), Colin Greenwood, Jonny Greenwood (as Jonathan Greenwood), Phil Selway (as Philip Selway) Written by Prince Be (as Attrell Cordes, Jr.), Gary KempĬourtesy of V2 Records/Gee Street Records Written by Nick Ashford (as Nickolas Ashford), Valerie Simpson
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