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Введение
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1
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2
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Exit Music: The
Radiohead Story
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Rolling Stone,
New York Times, Mojo, Jazz Times, Interview
Radiohead
Pablo Honey
In Rainbows
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Пьеге-Гро Н.
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Kristeva J. Bakhtine, le mot, le dialogue et le roman / / Critique. 1967. Avril.
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Radiohead
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1)
2)
3)
4)
12
,
Exit Music
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Глава 1. Практическая часть
1.1 Текст оригинала
In Rainbows
Given the circumstances of its entering the world, it was inevitable that In
Rainbows the album would be overshadowed by In Rainbows the media event. And
was the experience of buying it (or getting it without buying it). For some, the
suspicion lingered that there might not be an actual album at the end of the download
process, only an empty folder, or perhaps nothing but series of electronic blips.
Veteran rock critic Paul Morley encapsulated that suspicion when he wrote on the
that provided star ratings for his every
3
Once it became clear that this was not the case, the artistic
statement contained within the ones and
conventional that the manner in which they were brought to the public.
The music itself bolstered that initial impression. There are no bold stylistic
departures on In Rainbows, and for much of the album the band sticks with the basic
OK Computer voices, guitars
and drums, with occasional splashes of keyboards, strings, effects and various
electronic gizmos to add colour. Of the 10 tracks on the main album and the six
instrumental interludes), only three do not feature at least one prominent electric or
ce
of Kid A and Amnesiac feels like a distant memory. Even during those stretches when
(which still happens fairly often), the overall softness of the sound continues to be
oddly comforting. One could almost call this a conservative album by Radiohead
3
Paul MorleyRainbow Warriorsguardian.co.uk, October 10, 2007.
14
In Rainbows continues the stylistic consolidation that marked Hail To The
Thief, but it does so in a fuller and far more convincing manner than that album did.
For the first time on record, the experimental side of the group that manifested itself
most noticeably on Kid A merges seamlessly with the more traditional rock-band
sound of their earlier career. This becomes apparent less than a minute into the
and processed static are joined first by a tight 5/4 groove played on a standard drum
kit by Phil Selway and then by the clean, ric
Telecaster, sounding much like it did on OK Computer’s
ere is closer to the more
interesting approach the band has taken live, bringing both types of instrumentation
together. In fact, this arrangement was the direct result of having to take the new
bits assembled on the computer, and we were happy with that. Then we worked out
4
dys
an evocation of
the elementary school yard that one would hardly have imagined hearing on any
previous Radiohead album.
5
-grabbing bass
cheerful unpredictability c -filled part on
of chords from his gargantuan pedalboard in the latter half of the song. (The specific
s SP-303 Dr. Sample.) There is no standard verse/chorus
4
5
The children were students at the Matrix Music School and Arts Centre in Oxford. Godrich and Colin had
originally planned to record their handclaps for the song, but when
difficult than desirable, the two switched tactics and got the students to cheer en masse instead.
15
structure here as such, but Thom repeats the opening lines word for word at the end, a
bookending effect that creates a kind of chorus by default and gives the song a feeling
of completeness.
The sonIn Rainbows because it is the
previous albums and respective tours; it shows how Radiohead have succeed in
blending samples and electron
completely natural, even in the generally pop-unfriendly time signature of five
quarter notes per measure.
The energy level and volume get raised several notches on the following
this was one of the first performances that every member of the band deemed worthy
-
tuning whose tone and mood resem
A slapback delay effect on his guitar makes
the sound more threatening.) When all three guitars kick in with the main riff in
the thrill is nearly palpable: Radiohead have reconnected with their 18-string power
-bow guitar part, another merging of pre-and post-Kid A
styles.
The Stepford Wives,
along with a more personal experience of feeling t
[was] trapped without being able to connect fully with anyth
6
This is only a
-
6
The New York Times, December 9, 2007.
16
loathing that runs through these lyrics is nothing new in Radioheadland, of course;
stretching that last word to its breaking point), but in the final analysis, the only real
cynicism.
For longtime Radiohead fans, track three offered a special treat: the yearning
written and debuted in concert. Though its harmonic and melodic core remains the
-OK Computer
beginnings. Its opening and closing sections have become a study in shifting aural
perspectives; a string part, looped forwards and backwards vocal, guitar and ondes
samples, and other sounds that are less easy to identify pop into the mix, then quickly
hands were particularly busy on the faders during the mixing sessions for this track.
tured
a bobbing and weaving background melody line played in unison by Thom on
electric piano and Jonny on glockenspiel and organ (simultaneously). On the In
Rainbows version, Thom vocalizes the same tune wordlessly.
Speaking of wordlessness, there are al
The section of the song that seems closest to a chorus
still appears twice, but only once with words. Another early verse
clearly establishing that the song is about infidelity has been removed, making the
tone of the final product more enigmatic (although the dramatic final line about going
refers to are sexual).
Despite its extra sonic trappings at the start and finish, the main body of the In
Rainbows is, aptly enough, far closer to naked, with sizeable stretches of the
- -hat
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and rimshots (joined la
space that remains within the arrangement simply gives Thom more room to show off
enjoy singing it because it was too feminine, too high. It made me feel
uncomfortable. Now I enjoy it exactly for that reason because it is a bit
7
Yorke is clearly
up to the technical challenge; this is one of the all-time great Radiohead vocal
elevating it (literally) with the dazzling high notes at the end. Feminine? You could
uline bravado here, almost
A moderately fast, no-
r arpeggios
basic musical concept multiple time signatures superimposed over each other is
similar to OK Computer’s ng
oceanscape depicted in the lyrics. Later on, as the music gradually rises to an
imposing peak, Jonny switches from guitar to chiming celeste (adding a touch of
heaven to this underwater picture) and Thom contributes a restless guitar riff
underneath that brings extra urgency to the final minute.
hanging insistently on only a couple of notes, but the chord movement behind it,
depth of feeling. But by the
7