Thom Yorke Performs on The Henry Rollins Show
Aired on July 15, Thom Yorke with the help of Jonny Greenwood and Nigel Godrich performed songs off of The Eraser on IFC's The Henry Rollins Show.
The Clock:
Yorke is at it alone here. The electronic havoc of the album version, the one with the thick bassline that punches in the beatboxy reiteration, is replaced with an acoustic version on the performance. The community of digital sounds and pulses becomes a Zeppelin-like guitar. The speedy riff repeats under the delicate power of Yorke's distinctly Radiohead vocal melody, but when his lyrical melodies morph into the wordless ones, the song immediately becomes its most evocative. But no matter how deep Yorke finds himself in his song, he still looks like he's having a blast.
View The Clock
Cymbal Rush:
This live perfomance is the stripped-down version of the sprawling digi-composition on the LP. Here, you see the radiance in the song with only its most basic components laid out for you. The hoofing rhythm and the mad-science-lab-bleeps are gone, but replaced with Jonny Greenwood's Ondes Martenot space-cries. The sound becomes much more Kid A than it does The Eraser, especially when Greenwood's playing flies over the forward-movement of the Rhodes piano. The familiarity to the Radiohead album doesn't change the fact that the chord progression is Yorke at his best, with bliss and gloom in the very same movement. Nigel Godrich stops by to lay on the drum beat.
View Cymbal Rush
Both songs are modified to a point where they are barely in reach of their original versions. They accent the minor splendor of the songwriting, but sacrifice the complex edge. This is what Yorke's audience might have needed to recognize that The Eraser's melodies and progressions aren't quite as lacking as much as its knack for details.
The Clock:
Yorke is at it alone here. The electronic havoc of the album version, the one with the thick bassline that punches in the beatboxy reiteration, is replaced with an acoustic version on the performance. The community of digital sounds and pulses becomes a Zeppelin-like guitar. The speedy riff repeats under the delicate power of Yorke's distinctly Radiohead vocal melody, but when his lyrical melodies morph into the wordless ones, the song immediately becomes its most evocative. But no matter how deep Yorke finds himself in his song, he still looks like he's having a blast.
Cymbal Rush:
This live perfomance is the stripped-down version of the sprawling digi-composition on the LP. Here, you see the radiance in the song with only its most basic components laid out for you. The hoofing rhythm and the mad-science-lab-bleeps are gone, but replaced with Jonny Greenwood's Ondes Martenot space-cries. The sound becomes much more Kid A than it does The Eraser, especially when Greenwood's playing flies over the forward-movement of the Rhodes piano. The familiarity to the Radiohead album doesn't change the fact that the chord progression is Yorke at his best, with bliss and gloom in the very same movement. Nigel Godrich stops by to lay on the drum beat.
Both songs are modified to a point where they are barely in reach of their original versions. They accent the minor splendor of the songwriting, but sacrifice the complex edge. This is what Yorke's audience might have needed to recognize that The Eraser's melodies and progressions aren't quite as lacking as much as its knack for details.
posted by pico at 2:20 PM
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