![]() ![]() We set up the acoustic “ I Will” and atmospheric “Sail to the Moon” as intro and false outro, respectively. Knowing that we still needed some sort of respite in what might be an otherwise relentlessly aggressive album, we added in the band’s roughly made harmonica blues number “ I am a Wicked Child,” a Hail to the Thief B-side included on their COM LAG (2plus2isfive) EP. One example with all three issues? “We Suck Young Blood,” which felt like Another Sad Piano Ballad in the vein of the far superior “Pyramid Song” from Amnesiac. We removed a couple songs that lacked momentum, were overly dreary, or seemed to repeat past ideas too closely. I mean, “Sit Down, Stand Up” was arguably Radiohead’s attempt at drum ’n’ bass the same way “The Perfect Drug” was for Nine Inch Nails, no? There’s an acknowledged sense of Pixies-like contrast in volume throughout the album, and our revised version similarly focuses on sound. These bump up against synthesized noises that could be argued were just leftovers from a particular creative phase were some of them not so damn insistent. ![]() Indeed, Hail to the Thief includes some of the band’s crunchiest-ever riffs and most memorable vocal yelps (“Go to Sleep,” “2+2=5”). Sonically, the quintet returned to more traditional rock-band sounds after effectively Photoshopping their music across Kid A and Amnesiac. Bush’s election as President of the United States, the War on Terror he would eventually lead) as well as media and critics (in songs like “Myxomatosis” and “A Punch Up at a Wedding”). From title through lyrics, Yorke and the band were addressing global politics (George W. Others may tackle those LPs in due time, but for now we look at improving 2003’s Hail to the Thief, an album ultimately centered around grand themes of response, recovery, and renewal. Pablo Honey was also considered-it’s worlds and decades away from the sound of Radiohead now, and even with a monster hit the size of “Creep” it was regarded as only an OK album for its day. Amnesiac was recommended, as it seems a more difficult continuation of Thom Yorke’s electronica fetish from Kid A. With only eight songs and almost no other documented music (like single B-sides) released around them, there may be no way to improve it short of the world’s most fortuitous shuffle play. The King of Limbs, their eighth and most recent album, is the slightest in their catalog. With a recent uptick in activity from Abingdon’s favorite sons (tour and festival dates, news and rumors of a new album), we opened back-room discussions on finally pulling the trigger on something from the Radiohead discography, beloved as many people find it. Welcome back to Remake/Remodel, the column where one of Treble’s editors or contributors takes a classic-if imperfect, to our ears-album, and proposes an alternate tracklist in an effort to provide a different, albeit highly enjoyable listening experience. ![]()
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