![]() ![]() ![]() The welcome addition of the full string section of the London Contemporary Orchestra (a fact foreshadowed by last year’s would-be Bond movie theme “Spectre” whose string passages swelled and melted into Yorke’s shivery wail like some disembodied phantasm) makes A Moon Shaped Pool the Oxford quintet’s most thoughtful, labyrinthine album to date and one that takes significant time and patience to digest. It’s an intricate fusion of rock and classical music elements that exudes worldliness and a pursuit of divinity that is at once inspiring and heartbreaking. It’s nearly thirteen years later, and Radiohead’s ninth album A Moon Shaped Pool echoes that same sense of exigency and creeping disquiet, albeit sounding more restrained and circumspect than the impassioned works of the band’s earlier years. Radiohead’s songs have been telling us as much for decades: “Everything is broken.” “I’ll take a quiet life/ A handshake of carbon monoxide.” “Women and children first.” In 2003, when asked by a quixotic interviewer in her twenties if his two year-old son Noah (fittingly named) would be part of the generation that would set humanity’s problems straight, lead singer Thom Yorke replied with absolute certainty that by then it would already be too late. A Moon Shaped Pool – Radiohead – album review ![]()
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