Listening Journal - Week 8

For the final week of our listening, the only listed recording is by the band Radiohead. Below is a performance video of "Bodysnatchers," a song released on the album, In Rainbows. The band recorded a film of a majority of the songs from release in a rehearsal style performance. The video is a strong reminder of a very polished garage band, with exceptional access to music technology. The band and their signature style has developed in from their high school years, honed on the stage, and continues to evolve over the span of their career.

One of the most revolutionary elements of this song was the manner in which it was released. The typical pattern of receiving a record contract, entering the studio, completing an album, then essentially releasing the album and all control to the record company. After fulfilling their EMI contract, Radiohead left essentially millions of dollars on the table, choosing to essentially return to their roots as an unsigned act. Their rationale was driven by the desire to record their own material, in their own manner, without the outside influences of the record company driving artistic decisions. This is a dramatic development and reversal of a trend that was at the pinnacle during the Motown era, when Barry Gordy essentially was at the center of every decision made in the recording process. In a completely revolutionary release, Radiohead released the album for download, offering purchasers the opportunity to pay what they considered a fair price for the album. I am pleased to say that In Rainbows was my first Radiohead album, thanks to this release concept. 

For years, my closest friends had always been curious why I did not listen to Radiohead, as they felt that their sound and lyrical content fell directly in line with my musical tastes. "Bodysnatchers" was the entry point into my conversion into the Radiohead fold. Sonically, the work is cut from the distinctly U2 Achtung Baby album, with a an overdriven guitar riff that is the glue of the tune. The three guitar approach of the band is unique to the current musical landscape, but borne out of the 1970s bands such as The Eagles and roots rock bands such as Lynyrd Skynrd. Three guitars create a very dense sonic palate, notably in the chunking that is evident in Jonny Greenwood's lead guitar. The riff is doubled in the chorus on a hollow bodied Gibson by Ed O'Brien at the octave, adding a very sci-fi riff at the conclusion of the chorus, an obvious nod to the "Invasion of the Body Snatchers" era of B-movies. The second verse features a counter-melodic texture in Jonny's guitar, again adding tension to the undercurrent in the bass and drums. This interplay between bass and drums are a strong backbeat, evident until the "la la" break immediately preceding the outro. 

Lyrically, Thom Yorke is rebelling against the over-bearing control of the record company that is stifling their creative control. "I've no idea what I am talking about / I'm trapped in this body and can't get out" reflects a group that has potentially lost their own direction and is being stifled by an outside force.  The sonic element is referred to in the text, "You killed the sound / Removed backbone / Pale imitation / with the edges sawn off." Clearly, decisions that were thrust upon the band were rendered in prior recordings that have boiled over, almost in a East/West coast rap battle." The text "I have no idea what you are talking about / your mouth moves only with someone's hands up your ass" an almost direct repetition from the prior chorus, is the personification of a group that has been confined by the record company, and are being dictated to about all of the decisions  - artistic, process timing, when to support an album, how much experimentation to allow in the development of the sound. The metaphor of the puppet, with the very direct physical reference, is abrupt and certainly regards a high degree of disdain for the process.

The final portion of lyrics speaks in a very cathartic manner, almost releasing the band from the aforementioned puppeteer. The reference to the lights is an interesting connection to the "light bulb" moments of creativity that would cause a group to begin the recording process in the first place. The symbolism in the 21st Century reference evokes a rallying cry that calls followers to realize that oppression (by an employer) is killing creativity. For an ensemble that was defined by a single song in the infancy of the "Alternative" period of music, the fact that they were confined "into a skin" reflects that they are not comfortable in their own skin, which was hand-picked for them. The revelation that "I'm a lie," is the release of the oppressor, and followed by a unified guitar riff, in a maddening pace, with very dense and crunched sounds until the end of the song, concluded with feedback - a fitting sign-off to the song.

Has the light gone out for you?
Because the light's gone out for me
It is the 21st century
It is the 21st century
It can follow you like a dog
It brought me to my knees
They've got a skin and they've put me in
They've got a skin and they've put me in
On the lines wrapped around my face
On the lines wrapped around my face
Are for anyone else to see
Are for anyone else to see

I'm a lie