We don't.

>>60903031
Creep is a good song

/mu/ is the only place where they think Radiospork isn't overrated.

>>60903047
You kidding mate? moo thinks they're babby's first experimental

Probably because Reddit likes them.

>>60903031
What else can be said of them.

>>60903095
well, they are. doesn't devalue their work though. youre reading too much shitposting

>YOU ARE THE SUN AND MOON AND STARS ARE YOU
what did he mean by this?

because moo likes to be contrarians

I feel like the transition from loving Radiohead to hating them happened rather quickly. Feels like just yesterday people would seriously be saying Kid A is the best /mu/core album.

Because their music has little to no substance and they're praised basically for the sake of being experimental and innovative (not true, by the way).

>>60903031
/mu/ is a retarded echo chamber. Radiohead is objectively a good band. But the scaruffi "faux avantgarde"- meme found a lot of followers. Please tell me which rockband that is popular and still active is better than RH? LCD soundsystem (hahaha no)? Are there better rock bands? Yea. Is RH uncreative bland or just out there for commercial succes? No.

Nobody really hates them they just find them really overrated ecause they don't make any actually innovative music

there is pretty much equal love and hate and the hate is like 15% memes

radiohead make good music

/mu/ discusses Radiohead all the time, mostly positively. Two of their albums are on every /mu/core chart.

its been years since their last album and even longer since theyve done something worthwhile

I think when they announce their new album, you can expect a revival in the amount of discussion.
Kinda like with what just happened to animal collective.

>>60903031
[citation needed]

I had never even seen a shooting star before. 25 years of rotations, passes through comets' paths, and travel, and to my memory I had never witnessed burning debris scratch across the night sky. Radiohead were hunched over their instruments. Thom Yorke slowly beat on a grand piano, singing, eyes closed, into his microphone like he was trying to kiss around a big nose. Colin Greenwood tapped patiently on a double bass, waiting for his cue. White pearls of arena light swam over their faces. A lazy disco light spilled artificial constellations inside the aluminum cove of the makeshift stage. The metal skeleton of the stage ate one end of Florence's Piazza Santa Croce, on the steps of the Santa Croce Cathedral. Michelangelo's bones and cobblestone laid beneath. I stared entranced, soaking in Radiohead's new material, chiseling each sound into the best functioning parts of my brain which would be the only sound system for the material for months.

The butterscotch lamps along the walls of the tight city square bled upward into the cobalt sky, which seemed as strikingly artificial and perfect as a wizard's cap. The staccato piano chords ascended repeatedly. "Black eyed angels swam at me," Yorke sang like his dying words. "There was nothing to fear, nothing to hide." The trained critical part of me marked the similarity to Coltrane's "Ole." The human part of me wept in awe.

The Italians surrounding me held their breath in communion (save for the drunken few shouting "Criep!"). Suddenly, a rise of whistles and orgasmic cries swept unfittingly through the crowd. The song, "Egyptian Song," was certainly momentous, but wasn't the response more apt for, well, "Creep?" I looked up. I thought it was fireworks. A teardrop of fire shot from space and disappeared behind the church where the syrupy River Arno crawled. Radiohead had the heavens on their side.

>>60906247
How is Kid A not innovative?

>>60906907
For further testament, Chip Chanko and I both suffered auto-debilitating accidents in the same week, in different parts of the country, while blasting "Airbag" in our respective Japanese imports. For months, I feared playing the song about car crashes in my car, just as I'd feared passing 18- wheelers after nearly being crushed by one in 1990. With good reason, I suspect Radiohead to possess incomprehensible powers. The evidence is only compounded with Kid A-- the rubber match in the band's legacy-- an album which completely obliterates how albums, and Radiohead themselves, will be considered.

Even the heralded OK Computer has been nudged down one spot in Valhalla. Kid A makes rock and roll childish. Considerations on its merits as "rock" (i.e. its radio fodder potential, its guitar riffs, and its hooks) are pointless. Comparing this to other albums is like comparing an aquarium to blue construction paper. And not because it's jazz or fusion or ambient or electronic. Classifications don't come to mind once deep inside this expansive, hypnotic world. Ransom, the philologist hero of C.S. Lewis' Out of the Silent Planet who is kidnapped and taken to another planet, initially finds his scholarship useless in his new surroundings, and just tries to survive the beautiful new world.

This is an emotional, psychological experience. Kid A sounds like a clouded brain trying to recall an alien abduction. It's the sound of a band, and its leader, losing faith in themselves, destroying themselves, and subsequently rebuilding a perfect entity. In other words, Radiohead hated being Radiohead, but ended up with the most ideal, natural Radiohead record yet.

>>60906929
"Everything in Its Right Place" opens like Close Encounters spaceships communicating with pipe organs. As your ears decide whether the tones are coming or going, Thom Yorke's Cuisinarted voice struggles for its tongue. "Everything," Yorke belts in uplifting sighs. The first-person mantra of "There are two colors in my head" is repeated until the line between Yorke's mind and the listener's mind is erased.

Skittering toy boxes open the album's title song, which, like the track "Idioteque," shows a heavy Warp Records influence. The vocoder lullaby lulls you deceivingly before the riotous "National Anthem." Mean, fuzzy bass shapes the spine as unnerving theremin choirs limn. Brash brass bursts from above like Terry Gilliam's animated foot. The horns swarm as Yorke screams, begs, "Turn it off!" It's the album's shrill peak, but just one of the incessant goosebumps raisers.

After the rockets exhaust, Radiohead float in their lone orbit. "How to Disappear Completely" boils down "Let Down" and "Karma Police" to their spectral essence. The string-laden ballad comes closest to bridging Yorke's lyrical sentiment to the instrumental effect. "I float down the Liffey/ I'm not here/ This isn't happening," he sings in his trademark falsetto. The strings melt and weep as the album shifts into its underwater mode. "Treefingers," an ambient soundscape similar in sound and intent to Side B of Bowie and Eno's Low, calms after the record's emotionally strenuous first half.

>>60906958
Pulsing organs and a stuttering snare delicately propel "Morning Bell." Yorke's breath can be heard frosting over the rainy, gray jam. Words accumulate and stick in his mouth like eye crust. "Walking walking walking walking," he mumbles while Jonny Greenwood squirts whale-chant feedback from his guitar. The closing "Motion Picture Soundtrack" brings to mind The White Album, as it somehow combines the sentiment of Lennon's LP1 closer-- the ode to his dead mother, "Julia"-- with Ringo and Paul's maudlin, yet sincere LP2 finale, "Goodnight." Pump organ and harp flutter as Yorke condones with affection, "I think you're crazy." To further emphasize your feeling at that moment and the album's overall theme, Yorke bows out with "I will see you in the next life." If you're not already there with him.

The experience and emotions tied to listening to Kid A are like witnessing the stillborn birth of a child while simultaneously having the opportunity to see her play in the afterlife on Imax. It's an album of sparking paradox. It's cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike, infinite yet 48 minutes. It will cleanse your brain of those little crustaceans of worries and inferior albums clinging inside the fold of your gray matter. The harrowing sounds hit from unseen angles and emanate with inhuman genesis. When the headphones peel off, and it occurs that six men (Nigel Godrich included) created this, it's clear that Radiohead must be the greatest band alive, if not the best since you know who. Breathing people made this record! And you can't wait to dive back in and try to prove that wrong over and over.

>>60904323
WHYYY OH WHY OH

>>60906067
The fact that so many books still name Radiohead as “the greatest or most significant or most influential” experimental rock band ever only tells you how far experimental music still is from becoming a serious art. Classic rock critics have long recognized that the greatest rock musicians of all times are The Rolling Stones and The Who, who were not the most famous or richest or best sellers of their times, let alone of all times. Classical critics rank the highly controversial Ramones over punk rock musicians who were highly popular in New York City studio apartments. Experimental critics are still blinded by commercial success. Radiohead sold more than anyone else (not true, by the way), therefore they must have been the greatest. Classic rock critics grow up listening to a lot of classic rock music of the past, punk critics grow up listening to a lot of punk music of the past. Experimental Rock critics are often totally ignorant of the rock music of the past, they barely know the best sellers. No wonder they will think that Radiohead did anything worthy of being saved.