Tag Archives: Thom Yorke

Thursday’s Three, February 28th

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Thursday's Thr3e

You’re reading the first installment of a new series I’m starting up. You can say you knew it when. Sweet deal. So, each Thursday I’ll write a post with three bands: ones I’ve recently discovered and think are awesome and think you will too, or ones that have a new record out. Sometimes it’ll be three new releases; sometimes three discoveries; sometimes a bit o’ both. Here we go.

New Release: Atoms for Peace – Amok

Amok

Atoms for Peace is a new(-ish) side project from Radiohead’s Thom Yorke that features Flea (of RHCP, but you knew that) on bass. Amok is their first album, and it was produced by Nigel Godrich, the same man responsible for Yorke’s The Eraser back in 2006. The sound is similar, yet livelier and more developed. Yorke’s falsetto shimmers above as the countless layers of bass and synth pulse each track along. I think a friend of mine was right, however, when he mentioned that if you’re gonna use Flea, inarguably one of the greatest bassists in history, use him. He’s not featured anywhere near as prominently as he should be. Still, a great listen that’ll tide Radiohead fans over until the group’s next record.

The video below is for “Ingenue,” one of the record’s best tracks, and it features Thom Yorke dancing with his female sartorial twin in an empty auditorium. It’s simple but works perfectly with the song. And of course, there are already gifs.

[youtube http://youtu.be/DpVfF4U75B8]

Discovery: Body Parts

Body Parts

No, I did not discover some previously unnoticed appendages. That’d be weird. (Like really, imagine that for a moment. Very strange.) The L.A. four-piece Body Parts is the vision of Ryder Bach. I discovered them today thanks to David Greenwald’s (of Rawkblog) SXSW digging. They remind me of the Dirty Projectors, which should be all the endorsement you need. I will definitely be checking them out at South-By.

 Discovery: Hiatus Kaiyote

Hiatus Kaiyote

Another discovery thanks to SXSW and Mr. Greenwald, this Melbourne band plays electronic-infused, piano-driven songs of sinewy “future soul.” Plus, how can you not listen with album art like that? Put on some headphones and give this song your full attention.

Check back next Thursday for another three!

Oh Hey, Kid A

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It doesn’t make sense. It’s a bright, sunny day here in Austin. And I’m in a Kid A mood.

Arriving in late 2000, Kid A was met with groveling worship from critics (Pitchfork famously gave it a perfect 10) but skepticism from many fans. It was such a departure from OK Computer and, even more drastically, from The Bends. Give that latter LP a listen and, whether you like it or hate it, that opinion is unlikely to move around very much; it’s a straight-forward record. Not so with its turn of the century counterpart. Kid A requires a significant devotion of time, and a level of faith from the listener that so many critics and friends just can’t be wrong. At least it did for me. I did not enjoy it the first time around. Or the second. Or the sixth. But for some reason I kept listening. And then I got it. Now what “it” is I can’t tell you exactly – you have to get there yourself – but I do know that, save perhaps for “Idioteque,” this is not a record meant to be digested on an individual song basis. It is an album and should be heard all the way through.

With that said, here’s the opening track:

[youtube http://www.youtube.com/watch?v=VrpGhEVyrk0?]