The Week in Albums: Feb. 25

This week's album recap was delayed a bit by my Oscar coverage and an annoying computer virus. But, better late than never, right? Lots of exciting stuff this week, so let's jump right in...

#1
The King of Limbs
Radiohead
self-released

I cannot think of a single contemporary band that labors under as much pressure as Radiohead. Every time they put out an album, anything less than a universal classic will be seen as a disappointment. This is what happens when four of your first seven albums are considered cultural landmarks and two more are considered merely phenomenal. Yet, The King of Limbs feels calculated to diffuse some of the Radiohead-mania. Over a brief 37 minutes, these eight songs showcase textures and nuances rather than catchy songcraft or raw, emotional catharsis. The first four are rhythmically frenetic, while the second half features more languid, emotional tones. All eight require repeated listening before they start to make sense, as the listener becomes accustomed to the odd twists and turns. Unlike In Rainbows or OK Computer, which can reward you on the first listen, The King of Limbs demands time from you. I'm not surprised that many critics and fans see it as a bit of a let-down, but I think these criticisms are misplaced and premature. If you're not sold yet, go back and listen again. Then listen again. And then listen again. At some point, the brilliance will hit you. This is one of Radiohead's best works. They just don't want you to realize it yet.

Simon's Grade:



#2
We're New Here
Gil Scott-Heron & Jamie xx
XL

The week's most unanimously acclaimed record was We're Not Here, a remix of last year's Gil Scott-Heron album I'm New Here by the xx's Jamie Smith. Replacing Scott-Heron's eclectic mix of musical styles with his own icy electronics, Smith's final product is odd and unsettling, but often compelling, especially on the stellar second half. By snatching bits of Scott-Heron's distinctive, gravely voice off I'm New Here and burying them under minimal keyboards and skittering percussion, We're Not Here sounds more modern and cohesive than I'm Not Here ever did. It's still a bit uneven, with moments of the first half veering dangerously close to the murky waters of boredom, but the highlights, especially the closing "I'll Take Care of You," definitely make this an album of note.

Simon's Grade:



#3
21
Adele
XL

Well, here's one I didn't expect. Up-and-coming British diva Adele surprised everyone this week by releasing her sophomore album, 21, to a clamor of critical acclaim. And the kicker here? I'm pretty sure it deserves it. This is most certainly pop music, but it's a powerful and honest brand of pop that we haven't heard much since the 1970s. 21 is a soulful, emotional break-up album, fueled by Adele's strident vocal performances and unexpectedly edgy compositions from her team of collaborators. The opening trio of "Rolling in the Deep," "Rumour Has It" and "Turning Tables" is virtually impossible to argue with, while the closing "Someone Like You" will shortly become inescapable on every TV show that needs an emotionally dramatic soundtrack. There's even a hushed cover of the Cure's "Lovesong" thrown in! Hipsters like myself have long ago resigned ourselves to the fact that the radio doesn't play good music anymore. However, a few more pop albums like 21 and I might have to start listening.

Simon's Grade:



Also this week: Pitchfork threw out a few Best New Musics that didn't find a whole lot of praise elsewhere, including Space is Only Noise by Nicolas Jaar (4 pretzels), The Magic Place by Julianna Barwick (3.5 pretzels) and Underneath the Pine by Toro y Moi (3 pretzels).