You've got to feel it in your bones... (The Bends - Radiohead)

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Product:	The Bends - Radiohead
Date:	10.12.00 (15 review reads)
Rating:

Advantages: That incredible end

Disadvantages: It has an end

In a recent UK poll of the nations favourite albums, usually dominated by the Beatles, a new threat had come to the Fab Four in the form of The Bends, the second album from Oxford band Radiohead. It came number two behind the Beatles Revolver. Now, I own both albums and it has to be said that the Bends is way better. It was the album that shed the "Creep" stereotype that the band had thrust upon them and proved that they were something a lot more special than a one-hit wonder.

Just before the release of the Bends, the UK music press were decidedly lukewarm towards Radiohead. They were seen as a boring sub-grunge band, thanks to their appalling debut, Pablo Honey, and the whiney and highly over-rated "Creep" from that album. The song had won them world-wide adoration but also a stereotype as serial whingers.

The first sign that things might have changed was the release of the "My Iron Lung" EP. It was a song with oriental sounding guitars and a whole lot of falsetto. The lyrics were much improved on the Pablo Honey standard and almost deriding what had made the band famous in the first place. The chorus, if you could call it that, consisted of heavily distorted guitars, showing off Jonny Greenwood's excellent fret-work, and barely heard vocals screaming about head-hunters and Bulesha Beacons (Those round orange lights on either side of zebra crossings if you don't already know). This was musically and lyrically interesting and light years away from their previous output.

So in the Spring of 1995, The Bends was released, preceded by the double A-side of "Planet Telex" and "High & Dry", to much acclaim. And it really did deserve it. The album kicks off in style with the graceful "Planet Telex." The song begins with a burst of electronic noise like something waking up, followed by spaced out noises. Then rich power chords come in, distorted beyond belief to create an almost e
pic effect while Thom Yorke tells us that, "You can force it but it will not come." Apparently the vocal was recorded with Thom in a drunken stupour, and you can kind of tell.

As the track fades out so the title track fades in with background music and voice telling us that it's, "Not enough blow! Bring it up!" before the song proper kicks in so hard that it really does uplift you. The lyrics are very paranoid and Thom admits to wanting to "Live and breathe," and, "Be part of the human race." Really this song is a big kick up the rear, and is a bit of a quasi-religious experience if we're going to get poncy!

The rage of the title track is followed by acoustic loveliness of "High & Dry." This is probably my least favourite track, but it doesn't stop it being absolutely brilliant. It's a song about dare-devils like Evil Keneivel who'd do anything to be recognised. Thom manages a falsetto so high, you wonder how a man can sing like it! And if you thought "High & Dry" was lovely, just wait until you hear "Fake Plastic Trees." This is probably my favourite Radiohead track, mainly because it's absolutely gorgeous. It begins with softly strummed guitars and then progresses to a huge, anthemic climax with the full band before the final comedown. The lyrics yet again are optomistic: "But I can't help the feeling / I could blow through the ceiling" and Thom manages yet another heavenly falsetto.

Again they do the fading out / fading in trick as "Bones" fades in with a chord that just grows until exploding into the song. The lyrics are a little less happy here. Thom is "Crippled cracked," now but he's singing a lot lower, just to prove his enormous vocal range. The verses are muted until another adrenaline rush chorus comes in to blow your mind followed by a firey bridge. After this you're waiting for them to slip up
. "[Nice Dream]" comes next. It's another acoustic number to begin with, the band sat outside with acoustic guitars to record it. The song deals with a cotton wool wrapped utopia, where Thom feels protected and safe. But in the end it's all just a dream as chaotic guitars come in, turning the dream into a nightmare.

The second half of the album begins with a lot of a bang. "Just" doesn't just (ho ho) rock, it rocks to the edges of the known universe. This is the song that proves wrong anyone who thinks Radiohead are boring and dull as we are taught how to get to "Purest hell," as Thom puts it. It follows the quiet verse, loud chorus structure again until it goes completely mad for the end. This is an indie disco classic if ever there was one. It's followed by the equally rocking "My Iron Lung." To balance this burst of white noise, the gentle and fragile, "Bullet Proof... I Wish I Was." This is one of Thom's best vocal performances and leaves you thinking that it's just not worth it any more. Be warned, this isn't the most depressing track on the album.

"Bullet Proof..." does the fading stuff, this time into the upbeat "Black Star" where Thom laments a decaying relationship albeit in a rather rawk manner. Again the music is used to uplift and counter the more depressing nature of the lyric. "Sulk" does the same trick, but is the weakest link on the album by far. It's too much like Radiohead pre-Bends, with slightly banal and complaining lyrics. However, Radiohead have one last trick up their sleeve.

The thing that makes The Bends the best Radiohead album is the way it finishes. So far, the music has been positive and uplifting and the words have been from someone trying to encourage themselves rather than put themselves down. "Street Spirit" is the total opposite of this. Stark guitars mirror the bleak nature of the lyr
ics: "Cracked eggs dead birds / scream as they fight for life / I can feel death / Can feel it's beady eye." This song is cracked and brilliant at the same time. It is a mark of true genius to end such an uplifting album on such a low note. It is such an indelible song that it can leave you thinking the whole album was really depressing and in many ways this could have had an adverse effect on Radiohead. It is the best ending I've ever heard for an album and paves the way neatly for OK Computer.

So to conclude, the reason I love this album is because it's all brilliant. It's full of traditional guitar songs which have been twisted to make them new and original and exciting. It is still Radioheads best work to date and out classes most of their peers by quite a large margin. If you have to choose between this and Revolver, buy this! It's a much more complete and brilliant work.

Standout Tracks: Planet Telex, Fake Plastic Trees, Just, Street Spirit

Similar Albums: There's nothing out there that really compares to Radiohead. You should probably listen to some REM, as they were a big influence, Jeff Buckley for his influence on Thom's voice and Showbiz - Muse for three guys desperately trying to emulate their heroes.

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