Exclusive First Listen: Thom Yorke’s
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Thom Yorke’s day job is, of course, fronting what is arguably the best band in the world. Obviously one could tire of such a chore, so his decision to distance himself temporarily from Radiohead and establish a new musical identity is not only understandable, it’s welcome. the eraser is the name of this new project, and though Yorke expressed a desire to keep the word ’solo’ out of it, the rest of his band is absent from this recording. Unless, of course, you include producer Nigel Godrich as a band member; the eraser seems to be more of a collaboration between Yorke and Godrich than anything else, veering more strongly towards the electronic than anything Radiohead’s done since Kid A. Indeed, at times the eraser is evocative of that masterpiece of an album, though I’m hesitant to make comparisons between Yorke’s new work, which I’ve now only heard twice all the way through, and what I believe to be one of the defining albums of a generation. The presence of Yorke’s otherworldly vocals and Godrich’s electronic production make such a comparison obvious and viable. The emergence of this album with relatively little warning (the first mention of it was made less than three weeks ago) helps to soften the news that Radiohead’s next studio albums release has been pushed back in to 2007.
Though I don’t feel this album can really measure up to any of Radiohead’s recent output, that’s not really the point. Yorke made the conscious decision to try something new here, and that is what Radiohead has been doing their whole career. The innovation is present, and that’s what makes this record exciting. Yorke is held to an absurdly high standard resulting from his remarkable consistency at producing diverse and incredible albums with Radiohead, and that standard carries over to his new work on the eraser. Thom Yorke meets those standards with his new album, which will surely make plenty of year-end best lists. It is difficult to remove the inherent bias one has listening to this record, as Yorke is already so established as a musician. It will forever remain a hypothetical what the reaction to this album would be were it a true debut from an unknown artist. Instead, Yorke has simply added a new chapter to the ongoing saga of Radiohead, the band that will define a generation of musicians, music critics and music lovers alike.
MP3: Thom Yorke, “Atoms for Peace” [link removed]
This is probably the most immediately accessible track on the eraser. Named after either a 1953 Dwight D. Eisenhower speech, the motto for the International Atomic Energy Agency, or something entirely different, this song definitely sees Yorke’s vocals at their best. The arrangement is more subdued than much of the album, giving Yorke’s voice center stage with fantastic results.
MP3: Thom Yorke, “Harrowdown Hill” [link removed]
Another immediate standout track, the song borrows its name from the place British Ministry of Defense employee David Kelly, who inadvertently caused a British political scandal through his discussion with a journalist regarding weapons of mass destruction in Iraq, was found after committing suicide. The relatively straightforward production and vocal melody mask the eerie lyrics, highlighted by Yorke’s emoting what was likely going through Kelly’s head at the time, “I can’t take the pressure / No one cares if you live or die / They just want me gone / They want me gone.”
MP3: Thom Yorke, “Cymbal Rush” [link removed]
“Cymbal Rush” was the first song Radiohead enthusiasts heard from this album, as Radiohead played it in a live setting in early May. The closing track on the album, “Cymbal Rush” ends thing on an unexpectedly abrupt end, serving to both whet and strengthen the appetites of listeners for more new material from Yorke and Radiohead.