With their bigger and better second album, London-based indie/dance band Boxed In have earned their breakout moment
Radiohead - 'A Moon Shaped Pool' Review
An album of eerie, elusive beauty that is strange, shimmering and uncertain all at the same time
Lead single ‘Burn The Witch’ is a bit of a red herring, a classic slice of Radiohead scaremongering with cellists wielding their bows like pitchforks. Mostly, the glistening strings and spectral choirs serve to bring a luxuriant vagueness to these proceedings. More inviting than 2011’s 'The King Of Limbs' but unlikely to trouble the compilers of 'Drivetime Hits 17', 'A Moon Shaped Pool' is strange, shimmering and uncertain.
As in the ‘Daydreaming’ video, Thom Yorke wanders through the album in a state of bemused anxiety. “I feel this love runs cold” he shivers at the end of the stunning ‘Glass Eyes’. “Broken hearts make it rain” runs ‘Identikit’s desolate chorus. Yorke doesn’t do heart-on-sleeve, but it’s hard not to presume he’s singing about his recent separation from his partner of 23 years.
On the other hand, there’s ‘The Numbers’: “People have the power,” he sings defiantly, “we’ll take back what is ours”. Having previously pooh-poohed the idea of writing a climate change protest song because “it would be shit”, he appears to have written a distinctly not-shit climate change protest song, complete with funky Colin Greenwood bassline. Along with the drums kicking in on taut motorik rocker ‘Ful Stop’, it’s one of the few moments on 'A Moon Shaped Pool' you could plausibly describe as rousing.
Radiohead save their best trick ‘til last. ‘True Love Waits’ is a song many fans will feel strongly about, having been a live favourite since the mid-90s. Finally committing it to tape, they casually remove a couple of key structural chords before setting it adrift on a sea of rippling pianos. It’s a fitting end to an album of eerie, elusive beauty.
Islamic mythology meets the horror of war in this claustrophobic, low-budget spine-tingler
California’s coolest lift their usual murk on a free-spirited, adventurous third album at odds with its ‘mature’ description
The New York new wave reprobates’ debut delivers instant gratification via boisterous choruses and loveable melodies
This Floridian trio’s peculiar take on pop music takes gloomy cues from Depeche Mode and The Smiths