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At exactly 1:34 a.m. EDT, on the morning of October 10, 2007, I received an E-Mail from the world’s greatest living rock band.

“Thank you for purchasing In Rainbows.”

Approximately 90 seconds later, the scratchy opening drum beats of “15 Step” were blasting through my MacBook’s tiny speakers, Thom Yorke’s jittery voice reverberating through my living room.

After more than three long years, Radiohead is back with new material. Ten songs -- downloaded to my computer, moved to ITunes and burned to a CD within a matter of minutes.

Brilliant in both concept and delivery, Radiohead’s decision to release its seventh studio album worldwide as a pay-as-you-wish digital download via the band’s Web site is a reactionary marketing strategy borne out of the group’s distaste with the modern music-industry model.

In an Internet-reliant world where every anticipated release is leaked, downloaded and distributed among any music fan willing to do a little leg work – illicit or otherwise - Radiohead is choosing to let their listeners pay whatever they feel is right. Hardcore fans, casual listeners, record-industry types and journalists alike got access on the same day – no one had advance copies; no record label had In Rainbows running down an assembly line.

I felt a great sense of entitlement and community in knowing I was enjoying my first listen alongside thousands of other fans. But in truth, it wasn’t until my daily commute hours later that I was able to give In Rainbows a proper airing – easily the most enjoyable navigation of Atlanta’s nightmarish traffic in memory.

As I listened again to the opening tracks, I was overwhelmed with emotion. Radiohead, after all, are well-versed in delivering both bliss and morose; of combining rich, warm tones with accents of distant dissonance and occasionally paranoid lyrics.

This technique is evident throughout, but particularly stands out on “All I Need” and “House Of Cards,” the latter of which combines distorted guitar feedback and echoing drums with vocals seemingly broadcasting from some faraway tropical island.

The band that ten years ago brought the world OK Computer has been held to incredibly high standards with each subsequent release. Radiohead astoundingly, has hit, and arguably surpassed those expectations twice since, with 2000’s Kid A and 2003’s Hail To The Thief.

With this sort of anticipation, it’s nearly impossible to be completely blown away by the music here. After a handful of listens, I think it’s fair to concede that In Rainbows is neither particularly innovative nor a reinvention -- certainly not the next OK Computer. In the end, history may find their ambitious delivery method more revolutionary than their actual album this time out.

On this mature release, you never get the sense that Radiohead is trying to shock listeners with any creative leaps, as arguably past albums have. Which is not to say In Rainbows lacks innovation. There are moments of brilliance; “15 Step” is an incredibly funky number that reaches uncharted territory by its climax.

“Bodysnatchers” kick starts with a classic Jonny Greenwood riff that just continues to build and build toward a cathartic destruction.

“Nude”, a Kid A-era track that has gone through various transformations both live and during studio sessions – resurfaces in a beautiful definitive rendition. Yorke’s haunting vocals soar along with strings in harmonic bliss.

The album is remarkably tight -- not a throwaway track or wasted note. Forty-two and a half minutes of an accomplished band honing its well-crafted art -- layering funky grooves, distorted guitars, looped feedback and echoes, as in the fantastic “Weird Fishes / Arpeggi,” and the subtle build of “Jigsaw Falling Into Places.”

In Rainbows shows a band reveling in creative freedom, but not reaching too far musically as much as conceptually. Of course two months from now, such a conclusion will be up for debate again, when eight additional tracks see the light of day as part of the deluxe Discbox.

Until then, I’ll count my blessings: just having Radiohead back in my life is good enough.

TYSON WHEATLEY |