The post Review: ¡Uno! appeared first on dfuse.in.

Post that there was Awesome as F**k, a live album which did bring a few like me back in to the fold. And then there was the most ridiculous sounding announcement ever. Green Day was working on a trilogy of albums named ¡Uno!, ¡Dos!, ¡Tre!. Many saw it as good news,others saw it as an overtly commercial move to milk Green Day’s remaining popularity.

Then ¡Uno! released.

At a time when Billie Joe is out there hurling abuses and comparing himself to Justin Bieber and then apologizing about it because of the nature of the music industry today, ¡Uno! here is an honest no holds barred album consisting of twelve songs that give you a feeling that you’ve been hearing them all your life. This isn’t your concept album Green Day (think American Idiot), this more like the Green Day that had once recorded the phenomenon now known as Dookie. ¡Uno! is the band’s first studio album in three years. Surely,there is a lot riding on it and according to me, they’ll create magic like they have usually done in the past.

The beauty of the album is that every song feels like a single and this is a good thing because that is what the band has historically been better at. The diverse influences of the band also show up everywhere; there are little tributes to The Smiths, The Who, U2, Beatles, Knacks, AC/DC, Jeff Beck and David Bowie sprinkled in certain songs of the album.

The singles (barring ‘Let Yourself Go’) that released off the album were not really the ones that give you the hit. The album should not be judged on the basis of ‘Oh Love’ and trust me, the other tracks take the album to a whole new level. The explosive power chords and overall madness in ‘Nuclear Family’ is classic Green Day. ‘Carpe Diem’ exudes immense adolescent impudence and also provides us with the most memorable chorus from the album. The truth is that all of the band members are now in their 40s, married, divorced and relatively older. That brings in some of the subtext strewn here and there, where they are ‘running out of time’ and becoming old when they are ‘too young to die’.

‘Rusty James’ is my other favourite which is named after a character from the book Rumble Fish (later a Coppola film). The song is about the group of people Green Day spent time with in their early years at 924 Gilman Street. The ‘last gang in town’ refers to the fact the band is still around while most of their early naysayers (read critics) have all gone.

This is the Green Day I love. They are now the good old punk lazybones with their awesome hooks, catchy choruses and direct lyrics. Yes, you will not find the politically aware punk rock messiahs in this album, but you will love it if you like anything that remotely resembles what punk rock used to be in the day. And a lot of people will say this is just another sell-out move by pretending to be what they used to be. But then again this is Green Day we are talking about – a band that had given voice to a generation, be it masturbation or anti-war whoopla. The trio – Billie Joe Armstrong, Mike Dirnt and Tre Cool and almost-Green Day member, Jason White are currently in top form musically speaking and hopefully this phenomenon of the return-to-the-basics will be seen in the two albums that are to come as well.

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The post Review: 7 Billion and a Nameless Somebody appeared first on dfuse.in.

When I was asked to check out Fire on Dawson’s second studio album 7 Billion and a Nameless Somebody, I was thrilled that they were a progressive rock band. You can imagine my surprise when I discovered that the lead singer was an Indian by origin amidst a quartet. Ankur Batra (vocalist/lyricist) may come off as just another lead singer trying hard to stand out in a crowd, but he’s managed to  pull it off rather well. The just-as-talented trio that completes the band are Markus Stricker (lead), Martin Sonntag (bass), and Max Siegmund (drums).

The opening track ‘We Are All Vain’ comes forth in a mysterious blend of sounds that bounce off my senses as I wait with bated breath for the vocals to break the melody. When Batra kicks in, I am impressed by his easy vocals, revealing a set of huskiness that is much welcomed (prominent in other tracks). When bass takes over, I tingle, being a sucker for its plundering depth and all that (who isn’t?).

I wasn’t enthralled with tracks 2 and 3 (‘Pseudo Christ’ and ‘The Code’), bringing the initial excitement to an upsetting halt. The tracks don’t offer anything more than straightforward rock, losing their progressive edge in stark comparison to the other tracks. Track 4 sounds like something you’d hear from back in the ‘99s – it’s old-fashioned and lacklustre. Track 3’s spark fizzles out just as soon as it ignites – the lead guitar riffs disappear against the auditory wallpaper during the chorus (bass has taken a backseat, sadly); Batra no doubt has an overall versatile tone range – one minute it’s raw yet pure, then hazy yet grungy.

The excitement returns when track 4 (‘Steal the Show’) comes through the dull haze. Batra takes charge in a way that will leave you swaying ever so slightly to his pleading vocals that strain with immense feeling. Stricker’s laidback riffs are refreshing, while Sonntag brings badass bass at all the right intervals. So far Seigmund isn’t pounding away anything complex, but still playing a vital role in keeping songs glued together.

When track 5 takes its place, (‘Synthetic Part 1’) the album swerves me abruptly. Stricker finally gets his moment in the spotlight using simplistic yet clean and tuneful riffs. His solos aren’t going to leave you breathless, but they nonetheless have something significant to offer. I urge you to play track 10 (‘Synthetic Part 2’) right after; let one bleed into the other to reveal an interesting piece. The lead riffs get better here, with even more melodious bits that catch me smiling in glee. It saddens me when bass doesn’t step up to the plate like it should. Great potential is trapped within Sonntag and listeners will appreciate it if he bursts through.

It caught me off guard when Batra growled (so unlike him, although it sounds pretty good) a little in the track ‘God of the Lost’. The song gets a little bluesy, throwing me off completely; but it does add a nice touch to it – experimental really. Track 6 has nothing to offer except above average riffs that I wish Stricker went a little more ballistic with instead of playing it safe.

And now, addressing what they say as ‘leaving the best for last’, I come to track 9, ‘Willow’. While Stricker tickles my senses with an intense set of riffs that run deep, Batra’s soulful voice tenderly overlaps the lead guitar’s strains; the slightly high-pitched vocals on other tracks weren’t as likeable. While ‘Willow’ might sound ordinary, it’s the lead guitar that totally turns it into a track worth a replay. Wedging into the mix, a mellow song was definitely a smart move; sort of preparing listeners for the end – easing them out so to speak, before closing it beautifully with ‘Synthetic Part 2’.

While the band displays amazing talent, it wouldn’t hurt them to push the boundaries just a wee bit. They’ve got the potential to be great and, in my books, definitely have what it takes to make it big. Collectively, the band would do well to match their way of playing to the intensity of the lyrics, where glimmers of this are evident in brief bits. Nonetheless, the album deserves a worthy listen. I’d suggest wearing a good pair of headphones to appreciate the good parts.

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The post Review: Blunderbuss appeared first on dfuse.in.

Jack White is the man behind acts like The White Stripes, The Raconteurs and more recently, The Dead Weather. Anyone who has heard these acts will agree that White is one of the best producers around today, and also one of the very few who has managed to hold his own and stick to his roots amidst a flurry of commercialized music. They would also probably accede to the fact that his music has a characteristic raucous sound to it, which has persisted throughout his career (go listen to Icky Thump, in case you need a little convincing). With that being said, I was surprised, albeit pleasantly, to notice that Blunderbuss is much more toned down than all of his previous projects. However, after numerous listens, it still has the unmistakeable stamp of Jack White’s genius.

Here are the tracks that stand out:

Love Interruption

A very curious choice for a first single, it caught me completely off guard. While I expected a catchy, dirty riff with heavy progressive drums and rasping vocals, ‘Love Interruption’ is strikingly minimal, devoid of any percussion and the vocals are accompanied solely by an acoustic guitar and an electric piano. However, closer attention justifies that exhibiting intricate musical skills isn’t always needed to make a great song. Ruby Amanfu’s backing vocals, resonating beautifully with White’s voice, lend an ethereal feel to this otherwise simple song.

Freedom at 21

A scintillating intro on the drums sets off this typical Jack White composition. I never thought I’d hear myself saying this, but it is one of the “harder tracks” on the record. Just in case the new, serene Jack White is getting a bit much, wait till the guitar solo hits you.      p.s. I came across this live performance of ‘Freedom at 21’ with Jack White backed by an all girl band. One of my twisted fantasies come true, I must admit. That beast on the drums is mine.

I’m Shakin’

This one is my favourite simply because it is so damn playful. It is also the only cover on the album – a fitting tribute to the original version by Little Willie John (he first recorded the song ‘Fever’ before Peggy Lee made it famous). Despite not diverting much from the original, this version bears White’s signature sound with catchy riffs and that mischievous snarl. Even though he hasn’t done anything overtly spectacular, ‘I’m Shakin’’ is one of the most enjoyable covers I have heard in a long time.

As mentioned before, this album is unusually mellow, so don’t expect a ‘Seven Nation Army’ or ‘Steady as She Goes’, though the ‘Sixteen Saltines’ track is one of the few that comes close. The songs are folksy and the album is driven by consistently great and sensible lyrics. A lot of thought seems to have gone into lines that will stick with you long after (And I know that you’re mad at me, But if you’re thinking like that, I think you’ll see that you’re mad at you too, from ‘Hypocritical Kiss’). I often found myself marvelling over a great lyric, quietly whispering to myself, “Oh, well said, Jack. Well said.”

Blunderbuss appears to be more of a personal affair than White’s other endeavours. Most songs deal with love, or the disintegration of it, and I’d like to believe that White has made this album for himself and none else. It will take a while to understand this album, and to be completely honest, I’d still prefer to go back and listen to some of The Dead Weather. That said, Blunderbuss is still a masterpiece in its own right and if it takes you time to let the album sink in, believe me, it will be time well spent.

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The post Review: Mylo Xyloto appeared first on dfuse.in.

‘Mylo Xyloto’ is the British quartet’s fifth studio album, and their second with producer Brian Eno after the triumphant ‘Viva la Vida’. It is a concept album, with the lyrics following the two protagonists, Mylo and Xyloto, as they meet in an urban setting and fall in love. Brian Eno helped them achieve a distinctly fuller and more experimental sound in the last album. However, in what seems like an attempt to repeat the magic formula, the new record pales in comparison to its predecessor.

Here’s a quick review -

 Hurts Like Heaven

‘Hurts like Heaven’ is essentially the opening track of the album after a short instrumental titled ‘Mylo Xyloto’.  More than anything else, it sets the tone for what you can expect from the rest of the album. Do pay attention to the lyrics, which are admittedly meaningful (“Use your heart as a weapon, and it hurts like heaven”).

Paradise

This track stands out in terms of music, and is one of the few songs in the album which I took an instant liking to. The melodic vocals and the instruments come together in orchestra- like fashion, to produce a nice, rich pop-rock song. Again, lyrics like “I know the sun must set to rise” are going to stay with you long after the song is over.

Major Minus

If I had to choose a personal favourite from this album, it would have to be ‘Major Minus’. The song is the quirkiest of the lot, and Chris Martin adds to it with his famous falsetto. Also, guitarist Johnny Buckland stands out as the most evolved member of the band on this one. Just as in most of the other tracks, he seems bolder than ever, and he manages to hold his own with muscular guitar riffs amongst an excess of synth.

With an album as different as this, Coldplay is bound to divide its listeners. Some might trash the effort and accuse the band of selling out (especially citing the presence of Rihanna in ‘Princess of China’), while others will definitely back the band and plead creative freedom.

So there you have it. ‘Mylo Xyloto’ is a decent album, but far from Coldplay’s best, and it promises to leave a lot of fans confused as to what it is exactly that the band is trying to do with their music. Give the entire album a try only if you’re a diehard fan, as it’s far from being the record which Coldplay will be remembered by. As for me, I think I’m going to go revisit the good old days and listen to ‘The Blue Room’ EP.

Ah, Don’t Panic.

Photograph by Karl Axon.

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The post Review: Sunny Side Up appeared first on dfuse.in.

The album could in some ways be deemed self-indulgent. As I mentioned before, it’s basically Sidd Coutto being, well, Sidd Coutto. The eight tracks, all of which have been performed and produced entirely by him, are effortless, eccentric and melodic. Some of the songs may even sound like toned-down Tough on Tobacco tracks. With that being said, it’s still one of the most fun-to-listen-to albums I have heard in a while. These are the tracks that, well, caught my ear -

Free

‘Free’ is one of those songs that can instantly transport you to a happy place. It speaks of freedom and optimism, and though the lyrics are quite simple, Sidd successfully paints a vivid landscape of places where he would like to go, in his own quirky style. It is a great song to start the album with, and it’s even better to hear Sidd Coutto in his element. He constantly sings the line, “I don’t give a flying fuck no more”, and I found myself humming the same before the song was over.

Aim to Please

This one is classic Coutto; what with its catchy guitar and nonsensical lyrics. He speaks about things which make absolutely no sense on first listen (Baby, baby, let me entertain, Gotta have a little pain, And I’ll be your Kurt Cobain). Nevertheless, Coutto’s easy-going vocals, coupled with a hilarious trumpet piece (played by Sidd himself) will have you bobbing your head like an idiot in no time. Plus, the subtle touch of reggae sees him firmly re-establishing himself as the #3 Rasta wannabe from Hill Road.

Escape

One of the darker songs that Coutto has recorded, it is my favourite off the album. One of the reasons for the same is that it completely took me by surprise. It also lends a credible amount of depth to an otherwise peppy collection of songs. Just like the rest of the record, the lyrics are still very straightforward, but he’s managed to capture the feel of the song well.

A word of warning – Sidd Coutto might be one of the most versatile acts around, but you’ll be disappointed if you’re looking for something new in this album. As I mentioned before, the songs may sound like some mellow ToT material. One shouldn’t try and dissect the songs too much, because they aren’t designed to make the listener think too hard. I suggest you simply enjoy the songs just as much as the artist has evidently enjoyed making them. Sit back when you’re all by yourself on a lazy Sunday afternoon, and relax as Sidd Coutto helps you “take off for a while, and get away from city life”.

To the point of sounding corny, just chill out and look at the ‘sunny side’ of things.

The album is up for free download here.

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The post Review: Balance appeared first on dfuse.in.

Bangalore’s (still) acoustic duo Anup and Kenneth love playing the blues.  However, their debut album Balance transcends genres and emotions; and does it without trying too hard. The album is unpretentious and maybe that lets you connect more to the soul or essence of the album. Moreover, the duo works really well as a team. Kenneth’s voice merges effortlessly with Anup’s guitar.

The songs talk about a plethora of things – from the uncertainty of career prospects (‘Die Trying’) to unfaithfulness (‘Rain’). The interesting bit of the album is the way it sounds; it has a very raw feel to it. Anup and Kenneth have purposefully kept the album simple. How, you ask?

Anup + Kenneth+ Anup’s guitar + Kenneth’s guitar + a lot of emotion + a burning hatred for auto-tuned music= Balance.

Anup and Kenneth

It almost feels as if you are listening to them perform live – they do manage to achieve that old-school, folky sound without letting go of the catchy riffs and the shit-that’s-so-awesome solos. The simplicity of the songs doesn’t mean that they aren’t well composed. The guitar and the vocals are almost inseparable – that’s how tight the compositions are.

These are my favourite songs from the six-song album.

Thought

According to me, this is Anup and Kenneth’s most mature composition out of the album. It was written a week before the album was recorded. It ain’t loud, there’s no shouting. It’s simple and the lyrics that talk about addiction, loneliness and those times when you feel utterly hopeless. However, the song still doesn’t have an unhappy feel to it at all. Anup is at his best with the guitar in this one. End result? A brilliant song.

Rain

The deep vocals coupled with Anup’s guitar riffs and that awesome lead will surely make you listen to this  more than once. It has a very feel-good vibe to it. The lyrics are simple (‘Think I was born this way?’) but leave a deep impact. What is remarkable is that it actually manages to create the whole feel it deserves. I would definitely want to listen to this one on a rainy day.

Sensual

I guess this one’s written in a way that would make ladies everywhere go gaga. Maybe it was meant to be that way. Even then, the chorus is sufficient to blow anyone’s mind away. Kenneth’s vocals are brilliant in this one. I love the way this ends and all in all, this one does complete justice to its name.

In spite of how awesome this album is, a lot of people might be put off by ‘Muskaan’ which I would call their experimental track. Kenneth’s “Hindi accent” in this song might make people want to go to the next song. However, this is something that gradually grows onto you I guess. This isn’t a ‘Johnny’, another song from their album, which I presume will be their most popular one.

One major issue that I have with this album is that it ends too soon! I wish they had recorded a few more songs. Sigh!

A video from their practice sessions.

Overall, I feel that the album has a very live-recording-feel to it – single take vocals, no pitch correction. This makes it very realistic and lively. Anup weaves magic with his guitar – I do not possess the technical knowledge of the guitar to comment on it but from a music lover’s perspective – it’s bloody mind-blowing. Kenneth has a brilliant voice and coupled with those well-written lyrics he sounds even better. I hear that Anup and Kenneth plan to become a full-fledged electric band with a drummer et al. However I am in love with the acoustic feel of this simple yet intense album. An admirable debut,  I must say.

Their album releases on the 1st of October and we are giving away two songs from their album for FREE! Visit http://dfuse.in/balance. 

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The post Review: Nothing But The Beat appeared first on dfuse.in.

After the phenomenal success of ‘Sexy Bitch’, ‘Wavin’ Flag’ and ‘I Gotta Feeling ’, French House Music extraordinaire David Guetta is back with his 5^th studio album ‘Nothing But the Beat’. The album comprises of two CDs with a lineup of the music industry who’s who such as Nicki Minaj, Jennifer Hudson, Ludacris, Akon, Snoop Dogg, Chris Brown, Taio Cruz and Jessie J.

The sound of pop would have incredibly different today if not for David Guetta. He’s now one of the most sought-after producers in the music industry today. Although many dance fanatics will condemn Guetta for being a ‘sellout’ or ‘too mainstream’, he has helped to rejuvenate a niche industry which was once considered underground.

Flo Rida with his trademark flippant rapping in ‘Where Them Girls At’, is already a chart topper, hitting the top spot in the Billboards and other playlists around the world. Nicki Minaj the latest addition to the Guetta crew adds the extra ‘oomph’ with her lively, idiosyncratic sound, which is often a welcome break when we’re trying to figure out what the hell Flo is rambling about. Despite its repetitive flow, ‘Where Them Girls At’ is sets the right mood for the rest of album.

Another surprisingly good song is ‘Little Bad Girl’ featuring Taio Cruz and Ludacris. The seemingly immature lyrics are well enveloped with the genuine Guetta sound which makes all the difference. Ludacris who has been getting a little annoying in his last few songs is surprisingly good. Taio Cruz fans are definitely in for a treat.

A noteworthy disappointment was ‘I Just Want to F.’ by Timbaland, Afrojack, Dev and Guetta.  The song was a severe letdown and seemed like an absolute waste of new talent such as Dev and Afrojack. Dev sounds like she’s trying out a blend of Missy Elliot and Fergie, which has successfully managed to suck. After the success of both the Shock Value(s) Timbaland can’t afford to come up with shit tracks like these.

In singularity, the songs in Nothing But the Beat aren’t really different from his previous albums. Everyone is always “partying it up in the club”, the boys are uber cool and always on the prowl, the girls are tough talking and playing hard to get. There is hardly any difference in terms of lyrical content or mood, but the songs will surely have you pressing the ‘replay’ button for weeks on end.

The songs in the first CD are going to be definite chart toppers while the second CD is a collection of instrumental tracks that gives Guetta a chance to break free on his own, without the support of vocal heavy-weights like Jennifer Hudson or Chris Willis. In concert, David Guetta is known for his freestyle improvs and remixes on-the-fly and CD 2 of Nothing But the Beat is the closest you will experience Guetta live and uncensored. Although songs such as ‘Metro Music’ and ‘Lunar’ get a little too TRON for my taste, diehard fans of EDM will fall in love with it instantly.

The sound of pop is now synonymous with the R&B A list-ers collaborating with world-class DJs to produce billboard-topping hits as well as bringing new artists into the fray.  The Swedish House Mafia helped Tinie Tempah to find his ground, Afrojack welcomed Ne-Yo and Guetta has collaborated with every tom, dick and harry who has ever had a hit the past 10 years. The King of Pop might be pushing daises, but if there ever was a position for its Managing Director, David Guetta would be him.

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The post Review: Awesome As F**K appeared first on dfuse.in.

Green Day’s new album, as the title suggests, is a proclamation to the world about their awesomeness. Awesome As F**k is their latest album + DVD which people think is the follow-up to their 21^st Century Breakdown album. Do they stand up to the occasion? Yup. But this is not their immediate next after 21^st Century Breakdown as they had come up with another 7-song E.P. called Last Night On Earth: Live In Tokyo from which four songs have made it to Awesome as F**k.

Green Day has been repeatedly criticized for being a sell-out and I am sure that a lot of critics would say that Awesome As F**k isn’t all that great but this is because they are obviously comparing it to their previous live album, ‘Bullet in a Bible’. BIB was a follow up to ‘American Idiot’ and had a huge-ass arena feel to it. It made Green Day feel like God’s favourite band. However, Awesome As F**k is more about Green Day’s music and not just the rock operas which has brought them all of the recent fan following. This album actually goes back to the time when Green Day wasn’t what it is today. They mix these songs with their recent hits and thus, unlike BIB, you have a wider selection of songs in this track list.

Here, it must be noted that this is no chronicled history of Green Day but is rather a showcase of what a Green Day concert is like. This is taken care of even in the mastering of some of the songs as it is evident that have been digitally made to sound as if they were bootlegs. So you have a crazy ass 21^st Century Breakdown opening following by some songs that you might have heard recently (from ‘21^st Century Breakdown’ and ‘American Idiot’). Cigarettes and Valentines appears for the first time on this album. The song was written for ‘Warning’, the album that was released as the master records were stolen and Green Day ended up doing ‘American Idiot’ instead. Songs such as Going to Pasalacqua, When I Come Around, J.A.R., Burnout, Who Wrote Holden Caulfield?, Geek Stink Breath and She take you back to the time when no one would ever have imagined that these boys from Berkeley who spoke of teenage problems would make it so far. At the end of the album, you have the arena-booming anthems in American Idiot which you must hear just for the guitar solo. 21 Guns, Wake Me Up When September Ends also feature here. They end in true Green Day-style by finishing with Good Riddance (Time of your Life). The iTunes version of the album adds three more renditions of their classics.

Tre Cool beats the shit out of the drums, Billie Joe goes mad just the way he normally is on stage. Mike Dirnt does what most people can’t imagine doing with the bass. Jason White and the other Green Day supporting musicians appear on this one and maybe it is this addition of their instruments to the songs that makes the live version sound better than the album version. Amidst all this madness, if you listen to them carefully, you’ll realize how much the band has matured in terms of performance and production.

For one, I loved the album personally like any other fan would but does it make sense to buy this album if you aren’t a die-hard Green Day fan? It surely does because this one takes you to the punk roots of the band and gives you an insight into what they were before American Idiot happened.

Personal favourites? Who Wrote Holden Caulfield?, American Idiot and When I Come Around.

If you do manage to get your hands on the DVD, do watch it. It has the entire Tokyo Concert and is a visual treat.

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The post The King Of Limbs: What did you expect? appeared first on dfuse.in.

‘The King Of Limbs’ opens with Bloom, which starts with an echo-laden piano intro that slowly breaks into a formless rhythm. When the band commented that the album’s been inspired from early north-European fairy tales like Little Red Riding Hood or Hansel and Gretel where there was always danger and wonder hidden in the woods, something that sounded like the soundtrack to a post-apocalyptic Brothers Grimm scene wasn’t exactly what one would imagine and now that this album has done so, it’s hard to see it any other way! The rich imagery that this composition brings to you is amazing, considering the opening track is what prepares you for the rest of the album. Once you move to the next track Morning Mr. Magpie, with its thrumming guitar riffs and what NME’s Luke Lewis described as echoing of “Unforgettable Fire-era U2”, you would know by now that with ‘The King Of Limbs’, you are in for something entirely unorthodox and out of the way – especially so if you know what their earlier productions are all about! With this, you can rest assured that you are in for an interesting experience and your mood is set.

The next one is my favourite pick from the album – Little By Little, where the guitar tones on Yorke’s solo would remind you strongly of ‘Hail To The Thief’, yet retains a freshness to it all in the way it’s pulled together. Good production has always backed Radiohead and that hasn’t changed on ‘The King Of Limbs’ either. Feral’s a fairly instrumental track where the distant chime over the treated vocals and steady bass on beats caught my attention. It sort of plays off as an interlude and the echoes are a fun addition.

Honestly, I found the video for the next track, Lotus Flower slightly disturbing as it started out, primarily because the track did not appeal as a standalone and the video just kept reminding me of Conan O’Brien dancing on TV and wondering whether the crew’s going to add music to that! But take that away and listen to Lotus Flower in context and watch it fall beautifully into place! Codex is another favourite; it opens on deep, emphatic piano reminiscent of Pyramid Song and the vocals are haunting on this one. This track stands out because it is the only one in the album that goes mostly traditional on instruments while the others vary and experiment. From Codex, the next two tracks set the move towards closing the album. The next track Give Up The Ghost has a melancholic background and has a lot of soul when the acoustic guitar plucks one strand to another on following the vocals. We see more of live instruments towards the close and that is a brilliant idea. Simple, yet effective – pump up the mood and experiment with your sound as the album opens, but close it with sounds that are traditional and ones that drop the pace; thus slowing down. Again, Radiohead’s taken unorthodox to a whole new level when the last track Separator picks up with a steady beat on floating vocals.

Having said that, what are these guys? For a while I was content calling their music acid folk. When Radiohead first started working on the album, they had promised something entirely different from their last production ‘In Rainbows’. Sure, ‘The King Of Limbs’ is experimental and incredibly knotted … another listen and that is where this album crosses over just another experimental jumble to genius, eccentric as it may be! But you can’t deny that there are parts in the album where it just screams Radiohead despite how atypically so Thom Yorke and crew wanted to make it! Well, not like anyone’s complaining here! My advice is to pick out your favourite dark fairy tale and let your mind go wild to this music!

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