What are some other albums that marked the end of a band's

>>74250732
AMSP has quite a different sound.

>>74250732
I don't know, this is an album that has some of their best and worst material, but the good of it far outweighs the bad. Additionally, it has a distinct sound and makes emotional progress for the band. I know this is baiting responses, but for anyone who truly opposes this album it deserves more credit than it's given.

>>74250732
AMSP was their return to form though. I like TKOL but it is one of their two weaker albums.

>>74250956
which songs belong to the worst of their material on this album?

>>74251045
Burn The Witch is probably their most out of place song since Hail To The Thief. A s a result it's hard to decontextualize it and see it as a good track. Even upon its release as a single it left a sour taste in my mouth. Were this album to omit Burn The Witch and begin with Daydreaming it would be among their top 5.

In contrast, Daydreaming is perhaps their best track in over a decade, and certainly their most mature.

>>74251240

>Burn The Witch
>out of place

Nah, it's one of the few songs on the album alongside Decks Dark and Tinker Tailor to really tap into that old "turn of the millennium anxiety" vibe that ran through Radiohead's material for like 4 records straight. Where it falters there is tracklisting though, especially putting Tinker Tailor so far away from the songs it does pair with. That all said, the remaining songs are definitely of a more intimately despondent nature. Those 3 songs could've been their own EP but they do all draw from the same well. In terms of instrumentation though I do think Burn The Witch sets the tone with its emphasis on strings. Thematically, it's definitely a fish out of water compared to 75% of the album, even if it is one of my favorites from it.

>>74250896
>>74250956
>>74251045
It's a withered husk of an album, attempting to regain some of the depressive fame they accrued in Kid A. Whereas TKOL was innovation in going even further in the divide between Rock and Electronic music, AMSP is almost complacency. It's giving up and deciding to mope around because there's supposedly nowhere further to go - a sentiment which reflects the fact that Radiohead has been supplanted by leagues of producers and artists from across popular music.

>>74251737
>Where it falters there is tracklisting though, especially putting Tinker Tailor so far away from the songs it does pair with
That's because it's in alphabetical order for some reason

>>74252132
What a terrible pretentious opinion.

>>74252132
is this scaruffi reloded

>>74252132

>attempting to regain some of the depressive fame they accrued in Kid A

What? No, this stands alongside The Bends and In Rainbows as some of the band's most emotionally charged work. The material from OK Computer to Hail to the Thief was way more detached and political in nature. Considering Thom's life partner and mother of his kids had cancer and was dying, it's not hard to see why the music's a bit on the dour side. I think that's most evident by the form True Love Waits takes on this record, and it's not like tracks like Daydreaming, Ful Stop and Identikit are much better off. Also, I think you're completely discounting the synergy with Jonny's orchestral compositions this time around when previous records never went this far with it save MAYBE The National Anthem.

And furthermore, TKOL was more complacent overall than AMSP was - the only track on that record that actually pushed its novel ideas was Feral. Meanwhile, AMSP takes TKOL's ideas and does something with them by creating dreamscape-like textures. Surely you can hear a refined approach of TKOL's loops on the composition of songs like Daydreaming, Desert Island Disk, The Numbers and Present Tense, or True Love Waits. Yeah, the only real throwback to krautrock a la TKOL is Ful Stop but in refining that album's ideas, AMSP is almost Radiohead's interpretation of latter day Talk Talk, something that only a few past songs like Weird Fishes or How to Disappear Completely even remotely hinted at, let alone fully embraced.

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It was all downhill after this one imo

>>74252374

Which honestly doesn't fuck the album up THAT much. I mean, what few tracks there are with some kind of energy or pulse do end up spread nicely across this otherwise dreary, foot-dragging album. Pacing-wise, it weirdly worked out and the album flows like a gentle river througout. Tonally, some songs definitely got screwed here with Tinker Tailor probably being the worst case of them all. It's just nowhere close to a song that it actually would pair off with. Maybe The Numbers I suppose but even that's a stretch.

>>74252696

Eh, Margerine Eclipse was surprisingly good and Chemical Chords was a real shake-up. Otherwise, yeah.

>>74252696
>>74252721
>not liking late carrier Stereolab
I might be crazy but "Cobra and Phases" and "Sound-Dust" are honestly my favorite Stereolab albums after Dots & Loops.

>>74252517

>>74252132
t. Buttmad rockist
>>74252517
A good opinion

>>74252650
I find Tinkers placement perfect, its the comedown into TLW

>>74252782

I think that makes sense if you prefer Dots & Loops to the 3 albums before it. General consensus is that 90's Stereolab was the shit but Dots & Loops both symbolized a shift into a slicker, poppier sound as well as represented the peak of said shift. Certainly tones down on the more abrasive krautrock-isms of their first 4 records, but even then Emperor Tomato Ketchup foreshadowed a movement away from it.

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>>74250859
>

>>74252644

This

>>74253002
That makes sense. Dots and Loops is one of my favorite albums ever but oddly enough I'm not that into Emperor Tomato Ketchup and Transient Random-Noise. I just prefer the clean, krautrockish sound instead of krautrock.

>>74253458
*instead of noiserock

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The band called it quits precisely when they should have.

>>74250732
You're right anon, this album is at the end of their creative period. It's their most recent album, so it's pretty much impossible for them to be creative after that right.
When (if) their next album come see out, then that'll be at the end of sir creative period.

>>74253168
It's The Fragile but I like Year Zero too much

>>74253741
most obvious one so far

>>74252517
>Also, I think you're completely discounting the synergy with Jonny's orchestral compositions this time around when previous records never went this far with it save MAYBE The National Anthem.
What? There's Burn the Witch, some strings in Daydreaming, what else is there in the way of strings?

National Anthem had no "orchestration" save the Jazz Band, were you thinking of How to Disappear Completely?
>dreamscape-like textures
wow, how bold and innovative

I think all the opposition is proof that this place is just /r/indieheads and /r/hiphopheads. There's no one with a semblance of taste left.

>>74254406

Glass Eyes, The Numbers and Tinker Tailor all feature noticeable string parts. How to Disappear Completely also works I suppose but I was referring more to Jonny's orchestrating a group of musicians, where with AMSP Jonny's work with the London Contemporary Orchestra was a noted change of pace. Also how the choral parts of tracks like Decks Dark and identikit came about.

>wow, how bold and innovative

Radiohead have never been innovators. They've made their entire career from adapting various musical influences, blending them together and putting it through their pop-sensible filter. They're crate diggers with enough talent to channel those influences into something more accessible. That's all they have ever done, and it's hardly a bad thing when they're as good at it as they are.