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The Oxford band has grown accustomed to radical choices - or radical chic?, for the most 'critics are just great ... sharpers - and unconventional strategies, often in opposition to the logics of the recording industry.
Here they are then suddenly announce the release of the eighth album, available only from a few days for download on the official website: www.radiohead.com, the modest price of 7 pounds, barely less than 9 euro at current exchange rates for the MP3 version, 11 pounds for the WAV while sboroni for 36 pounds but can order a pack with vinyl, CD, a collection of 625 (!) artwork and a magazine with the story of disc.

7 pounds for only eight tracks, totaling just 37 minutes never so constipated.
The King Of Limbs (apparently it is the name of an ancient oak tree located close to their recording studio) is a work divided into two halves almost correct.
What once would have been the A side is electronic minimalism, experimental and ambitious, almost outtakes from Kid A or Amnesiac, and may be indigestible as a pan of pizzoccheri. Sampling and scratches, noisy effects, background noise, skewed melodies, percussion show: not really leave anything to the ease of listening. It will also be a coincidence, but opens with a tribal-psychedelic song titled Bloom, the protagonist of Joyce's Ulysses, the novel of the twentieth century inaccessible for excellence. And the next Morning Mr. Magpie (Autechre), Little By Little (perhaps the best of the lot) and Feral - a dustep that seems to tie the recent debut of James Blake - do not deviate from the topic. The Lotus Flower
individual is responsible for ferries in the second half of the disc, instead consisting of four charming and melancholy ballads style Pyramid Song / Sail To The Moon. In particular intimacy delicate Codex (the best song ever: that honor is the name of our publisher ...) and Give Up The Ghosts shows the lyricism inspired by Thom Yorke.

A disc slightly blurred, perhaps. For us less, not only to the masterpieces of the past, but also the penultimate In Rainbows.
brief and incomplete: the final, however, seems to presage Separator ("If you think this is over, then you're wrong") to follow shortly. We remain fearful
pending.

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We said we would come back on this James Blake James Blake, and we want to be speaking.
The very young (he was born in 1989) and talented DJ and producer English - Quote from the BBC to second place in the "Sound of 2011", the prestigious ranking that identifies the musical talents of each new year music - recently reached an unexpected success with its unique cover of the Limit To Your Love Feist Canadian singer-songwriter, now almost permanent member of Broken Social Scene: a bare version, essential, stripped of all tinsel, much more beautiful as the original.
But it is all the work to impress, with its foundations and its dubstep electronic minimalism, never too complacent or synthetic, but rather imbued with a soul vein (his parents listen to Stevie Wonder, D'Angelo, Sly & The Family Stone ), a voice capable of deep bass and warm tones.
I never learnt to share, for example, or the final Measurements: The gospel should sound like in the twenty-first century. And Willhelm Scream, second single from the album, with that single verse repeated in a crescendo, ol'accoppiata Lindesfarne / Lindesfarne II, infinitesimal variations on this theme.
Among his influences, the young genius - a true predestined according to some - he cites his countrymen XX; initial Unluck reminiscent of the extraordinary Bon Iver EP in 2009 (Woods), the aforementioned I never learnt to share and piano Give My Mouth are indebted to Antony & The Johnsons. We also reminded of Radiohead's Amnesiac and even Robert Wyatt of Shleep.
short, This disc is less than a masterpiece.

The next April 21 will perform at Blake Lambretto Art Project in Milan Club To Club Festival. Admission to the concert will be free subject to availability: how to book a ticket but will be announced in coming days.
State on the piece.

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Back from vintage, one just passed, rather opaque, saved only by old or not old lions like Weller and Albarn, the glorious land of England will start the new year with a series of interesting new productions: The Chapel Club's second album, "Palace", once dubbed by critics as the new My Bloody Valentine, the debut (self-titled) James Blake - on which we will return, maybe next week - and especially to Anna (or Anne) Calvi, from time in the spotlight after its discovery by Coral, expressions of esteem Nick Cave - who has wanted to open the last concert tour of Grinderman - and the blessing of Brian Eno, "is the most 'beautiful happened after Patti Smith," said l' alchemist-ambient genius inventor and ex-Roxy Music, which offers its valuable contribution in a couple of songs.
And the priestess of rock 'commitment is the first name that comes to mind listening the first work by this young author's obvious Italian origin, compared even to PJ Harvey (by the way, is to be released on his new album, called Let England Shake), Diamanda Galas, Soap & Skin, Cat Power, Siouxsie, Nina Simone, even Tim Buckley. Opera
first very pleasant, although not the miracle that has cried most of the critics. A very fine production, almost perfect, it takes a little 'taste of the disc - as well as heat, the interpretation of Anna in some places is glacial. An instrumental
incipit introduces the innocuous No More Words and a nice piece almost dance, Desire, at the Florence & The Machine. Suzanne & I opens with rock drums and emerge as one of the best features of the collection, and especially the First We Kiss The Devil litany side will show more 'dark and tormented. The remarkable final sequence: Blackout, or the song more 'pop, the play I'll Be Your Man, the sexy Morning Light and Love Will not Be Leaving.

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There are now dozens of publications such as "The 500 essential albums of the rock," or "100 discs to take on a desert island." I read them all, and then seeing my personal rankings.
Well, certain disks or certain writers never fail in that suit everyone; you have, say, the true invariants. Suicide, for example, then I wonder if anyone has ever even heard them. The Stone Roses. The Jesus And Mary Chain. Or misunderstood Camper Van Beethoven.
Among these are without doubt the Gang Of Four and Wire, two British bands of the more 'important and influential postpunk generation.

The first, from Leeds, kicking ass in 1979 with the debut album Entertainment! (482esimo to place the strips of Rolling Stone), or a Marxist funk array of extraordinary vitality.
are back today, after sixteen years after the penultimate shrinkwrapped, dismissing the mediocre Content, disco new wave of new-model Franz Ferdinand played out of time.
Much better to go and fish out the mythical Entertainment!

The latter, in London, in the second half of the Septuagint were among the most 'authentic ferry from punk to new wave and gave birth to landmarks such as Pink Flag (a collection of twenty-one tracks lean and very quick to place the list of Rolling 406esimo Stone), Chairs Missing and 154.
At the third reunion - which sees guitarist Bruce Gilbert's resignation, replaced by Robert Grey - are back with a record far from obvious: Red barked Tree opens with the refined and asymmetric Please Take that back to us in mind Japan , followed by the melancholy and Was Now Adapt, a favorite of ours, and continued with the heavy primitive Two Minutes from the beautiful and Clay, in the odor shoegaze.
The second part of the album remains at impressive levels, especially with the noisy MoreOver and the geezer powerrock A Flat Tent.
The closure reveals himself to the task, with the track that gives the title to the entire collection, a hypnotic and haunting ballad style Stereolab.

Colin Newman and company will play in Italy soon, here are the dates listed on their official website: Feb 19: Velvet, Rimini, February 21: Circle of Arts, Rome, February 22: Bloom, Mezzago (Milano).