It’s hard to talk about Kid A without mentioning OK Computer. Radiohead ploughed a completely different road in the 90’s to that of their britpop peers, and their experimental leanings came to a head with their 1997 masterpiece of social decay and alienation. Then they decided to get really fucking intense and depressing. If OK Computer was about pre-Y2K paranoia, then Kid A is about rebirth and death all at once.
Around the year 200, like any right minded individual I was a Radiohead fanatic. I listened to their back catalogue intensely, and was safe in the knowledge they could do no wrong. But nothing could prepare me for the utter single-mindnesses that was Kid A. The band famously couldn’t be arsed doing press for the album whatsoever, and naturally, it lent them an air of mystique that just made fans ache for new material even more.
And you know the rest. Game changing, electronic reinvention…..blah blah blah. I find it quite ironic that a band whose songs at this time seemed to be centred on the argument that technology will take over our lives and we will become irrelevant in the computer age (that’s an interesting point) were the ones who were lauded as embracing the future with their ‘pay what you will’ approach to the release of In Rainbows.
And what about the songs? What can I say that hasn’t been said a thousand times before by more learned individuals than myself? Of all the albums by a band I consider to be the greatest in the world, this is the album I go back to the most. That’s possibly the highest compliment I can pay it. I’m gonna post two of the greatest songs ever written and two of my favourites of all time. Just listen and enjoy:
1. First things first, and not in that particular order. There is a new Radiohead song on the internets!!!! It’s really good, and paying for it goes toward a good cause. So go do that.
A great fanart site that invites talented artists to have a crack at a certain geek-friendly theme/topic. Check out my personal favourite, Jeremy Vanhoozer.
This tune was the lead single from NOLA, Down’s first and best album. Metal Bastard recently blogged about it in his countdown. It made me rediscover this overlooked album.
Two of the greatest, most influential and distinctive directors of all time, just shooting the shit. Francis is showing Kurosawa how to use his fancy cutting edge Polaroid camera, the mighty Flashbar II. Akira looks kinda non-plussed at it all. Cause he’s old school.
It looks like it could be Anderson’s most comedic film yet. With this, Scott Pilgrim, Bored To Death and the upcoming Adventurer’s Handbook, 2010 is destined be the year of Jason Schwartzman.
This adorable Lil’ Red Keychain has been occupying my mind for the past two days. I’m desperate for him to join Homer and Donatello in the noble honor of guarding my keys.
Lead track from the upcoming Forget The Night Ahead. Another beautiful blend of Mogwai-style wall-of-noise guitar and gentle melancholy from the ‘Sad. If society was at all sane, The Twilight Sad would be number one everywhere in the world all the time.
It seems like there is a hell of a lot of sci-fi in popular culture at the moment. Along with vampires, it seems the media (and the public) cannot get their fill of cyborgs, androids, and techno-babble. And i’m a sucker for it. A big theme within this new wave of science fiction has involved machines who believe they are human, and the questions of indentity and humanity involved within that issue. These projects, mainly on TV, have ranged from incredible (Battlestar Galactica) to okay (Terminator: The Sarah Conner Chronicles) to poor (Two And Half Men. That child is a fucking cyborg of Lucifer and must be deactivated. End of rant.)
After JJ Abrams flashy, enterianing reboot of Star Trek, it seems even the popcorn movie fans are getting into the expansive world of Comic-Con’s and alien sexual relations. But with Moon, director Duncan Jones has picked a different sci-fi reference point. Specifically, Kubrick’s 2001: A Space Oddessy and 70’s environmental sci-fi flick Silent Running.
I won’t spoil the film by going into details on the plot, as the less you know about it the better. What I will say is that it has some amazing, old-school miniature and model work for the moon surface scenes. Moodily lit and so atmospheric. Also, Sam Rockwell finally has his moment in the sun. Essentially playing two roles, he nails two difficult performances and carries this quiet, powerful film on his lonesome. With a little help from Kevin Spacey, of course. What intrigued me most though, is that Jones has mentioned in interviews he has an idea for a sequel. I’m excited.