 On a larger artistic scale, Radiohead elevates its musical concept. RADIOHEAD - THE BENDS (1995) After the promising start with the uneven debut in Pablo Honey, in 1993, Radiohead returns with more creativity in their 2nd studio album, The Bends, elevating its musical concept with elements that are more accessible to the public — although excessively tormenting themselves in the lyrics. Released in 1995, and produced by John Leckie, this work features five singles, highlighting "Fake Plastic Trees," possibly the best composition of the British group. In its spatial opening, "Planet Telex" is a clear indication of the band's sound disposition: "We’re all broken…," Yorke emphasizes with his mind spinning in a disoriented world; "The Bends," the title track, returns to the traditional plane while questioning: "Where do we go from here?" The song undergoes sudden changes of highs and lows in the instrumentation, once again addressing their place in the world, comparing their land to a "sea of fear." The beautiful acoustic riff of "High and Dry" precedes the pleasant melody sung by Yorke, which elevates smoothly in the chorus: "Don’t leave me high, don’t leave me dry…," he pleads in a welcoming environment. The guitar gains prominence with a well-introduced solo by Jonny Greenwood in this well-crafted piece. Continuing with the artistic elevation, "Fake Plastic Trees" comes into play to win over the listener with its charm in the guitar and its sweet melody with touches of romance. Its well-defined construction, with lyrics highlighting the lack of authenticity in the world, guides the song to an intense climax only to return to the initial shining state, establishing itself as the best piece on the album and possibly within the group's entire discography. "Bones" tries to instill feelings in the listener with its strong instrumental presence: "I don’t want to be crippled and cracked…," says the protagonist in the heaviest song of the album. This approach contrasts with "(Nice Dream)," which offers a sigh in the sunlight, delighting the traveler in pure dreams that allude to celestial angels, until the guitar enters with fervor in its organized reticence. "Just" cracks as a grunge-heavy ambiance and stands out from the rest of the album with personal attacks and, sometimes, unpleasant lyrics; "My Iron Lung" utilizes some elements of the previous track but is more accessible in its initial arcs, with controlled solos on the guitar and a melody that tries to reach a unique note at the top; however, its third movement returns with afflicted instrumentation, dismantling the connection with the listener. "Bullet Proof… I Wish I Was" shows the emotional fragility of the solitary traveler: "I wish I was bulletproof…," he reveals in pleasant melodies, guided by a slow rhythm, and conjured by the instruments in its authentic sentimental opening. Its effect is also wrapped in the beautiful romantic atmosphere of "Black Star," with its deep lyrics about understanding love: The rhythm ignites with the great combination of drums and guitar in their scheduled decrescendo encounters, making it a rare piece on the album. The same musical concept continues in the verses of "Sulk," although here the guitar exaggerates in its own dimension.
As an emotional liberation, "Street Spirit (Fade Out)" emerges iconically with its arpeggio, as if entering a dark tunnel of lamentation to extract the individual from suffering the most valuable lessons of internal healing. It is definitely the band's most somber song, especially with the constancy Yorke gives in the chorus, without breaks, poetizing a state of mind ravaged by time; nevertheless, it is also a reconquest for those who face darkness and find light at the end of the path, leading the listener to their rebirth. ★★★★ (out of 5 stars) Radiohead Collection (9 Studio Albums): Pablo Honey (1993), The Bends (1995), OK Computer (1997), Kid A (2000), Amnesiac (2001), Hail to the Thief (2003), In Rainbows (2007), The King of Limbs (2011), and A Moon Shaped Pool (2016). |
