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Alternative & Indie - Released August 12, 2016 | XL Recordings

Hi-Res Distinctions 4F de Télérama - Pitchfork: Best New Music
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Alternative & Indie - Released May 8, 2016 | XL Recordings

Distinctions 4F de Télérama - Pitchfork: Best New Music
At the close of experimental solo careers for both Thom Yorke and Phil Selway, and the film soundtracks of Jonny Greenwood, Radiohead has finally come back to the fold with their ninth studio album. It's proof that talent never leaves you, more than thirty years after the band got together. Talent yes, surprises no. In fact, the biggest surprise on A Moon Shaped Pool is that there is no surprise. The Oxford grown quintet has undoubtedly just released their most "classic" album, almost with their eyes closed. Yorke is omni-present in the sound, and you can hear his influence throughout. As such, it's like listening to an old Radiohead record, without having heard it before. Radiohead have set aside their experimental tendencies in favour of sometimes minimalist, sometimes luxurious arrangements. Even in the most impressive arrangements for strings, Jonny Greenwood seems to be aiming for purity, (see Daydreaming). His diverse works on the 7th Art and, most notably, for the director Paul Thomas Anderson (Greenwood penned the soundtracks to There will be Blood, The Master, and Inherent Vice) have clearly given him a new vision that makes its presence felt. Even on the most intimate tracks (Desert Island Discs), Radiohead maintains a certain majesty, and when they get to post-rock (Full Stop and Present Tense), their musique becomes grandiose. With such an album, Radiohead pushes the legend slightly further, preserves its distinct style, and adds to its already legendary discography.© CM/Qobuz
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Alternative & Indie - Released June 23, 2017 | XL Recordings

Hi-Res Distinctions Pitchfork: Best New Reissue
Twenty years after its summer 1997 release, OK Computer re-emerges clothed in light. In this two-part reissue: a first disc with the remastered original album; a second, 11-track disc made up of B-sides and previously unreleased titles. The sort of release that has fans in a frenzy... After the admittedly perfect classicism of The Bends (1995), Radiohead took a sort of swan dive into the ocean of a distinctly more experimental type of rock. Like revisited prog rock, subtly undermined by snatches of electronic music, OK Computer is never a mere mad scientist's laboratory, experimenting just for the fun of it. Underneath the atmospheric layering, behind the patchworks of textures inherited from Pink Floyd, R.E.M. or even Teuton krautrock (Neu! and Can spring to mind), the Oxford group never lets its attention stray from the writing. Between Thom Yorke's tortured but often lyrical (Exit Music (For A Film)) and always distinctive voice (Karma Police) and Jonny Greenwood's avant-garde guitar lines (Subterranean Homesick Alien), this third album keeps listeners on their toes. OK Computer reached a pinnacle of inventiveness, with bold harmonies, groundbreaking production and inventive instrumentation. It left its mark on its time and will continue to influence masses of groups and musicians...The second disc in OK Computer OKNOTOK 1997 2017 contains eight B-sides (Lull, Meeting In The Aisle, Melatonin, A Reminder, Polyethylene (Parts 1 & 2), Pearly, Palo Alto and How I Made My Millions) and three previously unreleased tracks (I Promise, Man Of War and Lift). Recorded in March 1998 at the Abbey Road Studios in London, Man Of War was originally intended to be on the soundtrack of the big-screen adaptation of The Avengers with Uma Thurman and Ralph Fiennes, but the group was unhappy with the result and shelved the song. However glimpses of the title's recording footage can be seen in the documentary Meeting People Is Easy. Radiohead began performing on stage in 1996 with I Promise and Lift, on a US tour as the opening act for Alanis Morissette. Hard to fathom how Lift and its heady melody did not end up on the final tracklisting of OK Computer. © MD/Qobuz
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Alternative & Indie - Released May 28, 1997 | XL Recordings

Distinctions The Qobuz Ideal Discography
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Alternative & Indie - Released December 31, 2007 | XL Recordings

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In Rainbows, as a title, implies a sense of comfort and delightfulness. Symbolically, rainbows are more likely to be associated with kittens and warm blankets than the grim and glum circumstances Radiohead is known for soundtracking. There's a slight, if expected, twist at play. The band is more than familiar with the unpleasant moods associated with colors like red, green, and blue -- all of which, of course, are colors within a rainbow -- all of which are present, and even mentioned, during the album. On a couple levels, then, In Rainbows is not any less fitting as a Radiohead album title than "Myxomatosis" is as a Radiohead song title. Despite references to "going off the rails," hitting "the bottom," getting "picked over by the worms," being "dead from the neck up," and feeling "trapped" (twice), along with Radiohead Wordplay Deluxe Home Edition pieces like "comatose" and "nightmare" -- in the same song! double score! -- the one aspect of the album that becomes increasingly perceptible with each listen is how romantic it feels, albeit in the way that one might find the bioport scenes in David Cronenberg's eXistenZ to be extremely hot and somewhat unsettling. Surprisingly, some of the album's lyrics are even more personal/universal and straightforward than anything on The Eraser, the album made by Thom Yorke and Radiohead producer Nigel Godrich. "I'm an animal trapped in your hot car," from "All I Need," has to be one of the saddest, most open-hearted metaphors used to express unrequited love. "House of Cards" begins with "I don't want to be your friend/I just want to be your lover/No matter how it ends/No matter how it starts," and the one with the worms includes "I'd be crazy not to follow/Follow where you lead/Your eyes/They turn me." This effective weaving of disparate elements -- lyrical expressions commonly associated with the band, mixed in with ones suited for everyday love ballads -- goes for the music as well. The album is very song-oriented, with each track constantly moving forward and developing, yet there are abstract electronic layers and studio-as-instrument elements to prevent it from sounding like a regression. In Rainbows will hopefully be remembered as Radiohead's most stimulating synthesis of accessible songs and abstract sounds, rather than their first pick-your-price download. ~ Andy Kellman
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Alternative & Indie - Released October 2, 2000 | XL Recordings

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Alternative & Indie - Released March 28, 1995 | XL Recordings

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Alternative & Indie - Released June 9, 2003 | XL Recordings

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Alternative & Indie - Released September 21, 1992 | XL Recordings

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Alternative & Indie - Released March 12, 2001 | XL Recordings

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Alternative & Indie - Released February 22, 1993 | XL Recordings

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Alternative & Indie - Released December 28, 2007 | XL Recordings

As varied as the rainbow it depicts, the seventh album from Radiohead reminds us all why this is one of the most influential bands of our time. While the songs that make up the record were introduced to the public through several concerts and a range of video content, the musicians, then free from all binding contracts with any record companies, decided to mix things up by launching their baby via participatory distribution. Meanwhile, the solo career of Thom Yorke, which was launched at the same time, seemed to give a new lease of life to the artists already sitting at the summit of their success. Beauty is central to In Rainbows, just listen to Reckoner, House Of Cards, Videotape, or All I Need ... And while Nude seems like its come out of Kid A, Bodysnatchers brings out the old Radiohead rock: pure and untarnished. As further proof of their musical maturity, space abounds on this record, as the artists let the music - and each other - do their thing without overegging the pudding. That being said, the standout performer remains Jonny Greenwood and his rythmic guitar hooks. To conclude, on this 2007 release, the English legends produced a hotter-than-usual record, and once again diversified their legacy. © AR/Qobuz  
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Alternative & Indie - Released February 18, 2011 | XL Recordings

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Alternative & Indie - Released February 18, 2011 | XL Recordings

For the release of their 8th studio album, released in 2011, Radiohead created a veritable controversy among their fans. The content of The King Of Limbs is difficult to access, syncopated, and sometimes a little heavy on the digestion. Often epileptic, the songs on this opus are rendered distinct by a strong rhythmic thread, woven into every song. Unlike the free-flying, and often warm, melodies on In Rainbows, The King Of Limbs prefers the coldness of the electric beat. But in the same vein as Amnesiac or Kid A, there's still a coherent whole to be deciphered through the confusing sounds. Once you listen to the record a couple of times the whole way through, it's impossible not to be impressed by at least the vision of the group, and their fearlessness in attempting to go beyond their almost sacred borders. Standout songs include but are not exlusively: Lotus Flower, Feral, Give Up The Ghost… As per usual with Radiohead, the record screams of classy production and abounding talent, filled with extra details that diehard fans and newcomers alike will lap up. The King Of Limbs is further proof that this stalwart of British music isn't quitting any time soon. © AR/Qobuz
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Alternative & Indie - Released October 14, 2016 | XL Recordings

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Alternative & Indie - Released January 12, 1998 | XL Recordings

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Alternative & Indie - Released August 25, 1997 | XL Recordings

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Alternative & Indie - Released January 22, 1996 | XL Recordings

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Alternative & Indie - Released May 21, 2001 | XL Recordings

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Alternative & Indie - Released February 27, 1995 | XL Recordings

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