By Liz Tracy
By David Rolland
By Alex Rendon
By Terrence McCoy
By Natalya Jones
By County Grind
By Liz Tracy
By Chris Joseph
Strike up the hype machine: Here come those pasty boys from Oxford, readying another assault on the foundations of rock 'n' roll. Whereas on the group's last two albums -- 2000's Kid Aand 2001's Amnesiac, recorded during the same sessions -- Radiohead seemed determined to please only itself, on Hail to the Thief,the quintet appears to want to satisfy all its devotees (save, perhaps, the teeny-boppers who loved the sobbing bubblegum of 1993's "Creep").
This time around, Radiohead offers a little bit of everything, proving as much kinship with Paul Simon as U2. Thief includes murky, piano-led ballads, epic caterwauling soundscapes, glitched-up electro-pop, and straight-on rockers. While not every one of these latter numbers works ("Go to Sleep" sounds like bad, late-period R.E.M. and "Where I End and You Begin" suggests an outtake from U2's Zooropa), the best tracks are rather glorious. "2 + 2 = 5" and "There There" sound fantastic, infused with electronic beats and peculiar percussion. By comparison, the group's last "rock" effort, OK Computer, sounds dated, hampered by thin production and half-baked lyrics.
Singer Thom Yorke may have gotten rid of his homesick aliens and technological scare tactics, but he's still a bit obsessed with monsters, muggers, murderers, witches, and vampires. He even gives himself a rabbit-killing disease called myxomatosis at one point. He's at his best when he takes a normal topic -- a relationship, say -- and instills it with his trademark dread, such as on the shockingly catchy "There There."
Of course, the other problem with Yorke is that sometimes you wish he'd just shut up. Early in his childhood, he must've learned that whining gets you everywhere, and he hasn't forgotten it. -- Dan Strachota