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| <div class="header">Online Edition: Summer 2011</div> | ||
| <p>Welcome to the SUMMER 2011 Online Edition!<br/>Check back for more reviews throughout the summer. </p> | ||
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| <div class="header"><a href="../2011summer/mnartists-zines.shtml">mnartists.org presents: The Zine Apothecary</a></div> | ||
| <p>Lacey Prpić Hedtke makes DIY magic in a garage. A new feature presenting the exceptional work of Minnesota artists. </p> | ||
| <div class="by">Essay by Sarah Peters</div> | ||
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| <div class="header">Reviews: Nonfiction</div> | ||
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| <div class="header"><a href="../2011summer/morrison.shtml">The English Opium Eater: A Biography of Thomas De Quincey</a></div> | ||
| <div class="by">Robert Morrison</div> | ||
| <p>This new biography of the gentleman addict tantalizes with what it reports but does not presume to interpret its subject's strange delusions. <em>Reviewed by Spencer Dew</em> </p> | ||
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| <div class="bookCover"><a href="http://www.amazon.com/gp/product/0253222729?ie=UTF8&tag=raintaxi-20&linkCode=as2&camp=1789&creative=9325&creativeASIN=0253222729"><img class="dropshadow" src="images/radiohead.jpg" width="180" height="272" /></a></div> | ||
| <div class="bookTitle">Radiohead and the Resistant Concept Album</div> | ||
| <div class="bookSubtitle">(How to Disappear Completely)</div> | ||
| <div class="bookAuthor">Marianne Tatom Letts</div> | ||
| <div class="publisher">Indiana University Press ($19.95)</div> | ||
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| <div class="reviewer">by Jeremy Wade Morris</div> | ||
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| <p><span class="firstletter">O</span>n Feb 18, 2011, Radiohead launched their newest album, <em>The King Of Limbs</em>, on their website. The digital download cost $9, though fans could also pre-order (for $50) what the band described as the worlds first newspaper album: a deluxe audio-visual package consisting of 2 vinyl records, a CD, a digital download and hundreds of pieces of artwork. The launch followed Radioheads much-hyped 2007 release of <em>In Rainbows</em>, where the band let users pay what they wanted for a download of the album. </p> | ||
| <p>Talented musicians and master anti-marketers, Radiohead have spent their careers pushing the boundaries of musical creativity and mass production. Marianne Tatom Lettss excellent new book returns to the origins of the bands subversive marketing strategies: the making and selling of two of Radioheads most interesting, dense and disputed albums, <em>Kid A</em> and <em>Amnesiac</em>. Lettss smart, in-depth account reveals as much about Radioheads ambivalent and conflicted relationship with popular culture and contemporary capitalism as it does about their musical appeal. </p> | ||
| <p>Some might argue Lettss biggest contribution is her theorization of what, conceptually speaking, makes a concept album. Her introduction discusses academic and journalistic work on the topic (with nods to undisputed concept albums like <em>Tommy</em> and <em>The Wall</em>) in order to position the concept album within art rock and progressive rock traditions. Letts presents a concept album taxonomy that will be highly useful for popular music scholars. While some song cycles hold together based on a linear narrative with a plot or characters, others cohere thematically and rely on repeating musical or lyrical motifs. Letts assigns <em>Kid A</em> and <em>Amnesiac</em> to a category called the Resistant Concept Album: one that is unified but resists interpretation, on account of its non-explicit plot, musical discontinuity, and unclear lyrics/concept. <em>Kid A</em> and <em>Amnesiac</em> arent the first resistant concept albums, but they are illustrative of a tradition that simultaneously subverts and fulfills the expectations of the recorded music commodity. </p> | ||
| <p>After a well-researched survey of Radioheads career before <em>Kid A</em>, Letts proceeds with song-by-song readings of the musical, lyrical, and paratextual elements (i.e. packaging, websites, and other marketing materials) of the albums under consideration. She claims it is helpful but not absolutely necessary to know how to read music, but music scholars will surely take more away than general audiences in other fields (i.e. media studies, cultural studies, etc.). Still, Letts makes a sincere effort to keep her interpretations accessible for non-experts and to link her readings back to the wider themes her book explores. </p> | ||
| <p><em>Kid A</em> and <em>Amnesiac</em> are resistant concept albums because they feature loosely unified mediations on the death of the subject in modern life. Letts convincingly traces how the first four songs of <em>Kid A</em> follow a subject whose only means of coping with the alienation brought by modern technology, politics, and capitalism is to disappear completely. She then argues the second half of <em>Kid A</em> and most of <em>Amnesiac</em> can be read as persistent but futile attempts to reconstruct the subject. Letts skillfully addresses lyrics, groove, notation, and other song elements where appropriate. She also uses inventive techniques like grouping lyrical snippets from across songs to form an image trail, a method that seems particularly suited for analyzing a fragment-spewing poet like Thom Yorke. </p> | ||
| <p>Despite her attention to the music, Letts never forgets it is not just sound that conditions our reception of albums, but also the way albums come to us. <em>Kid A</em> was marketed atypically without true radio singles or proper music videos, whereas <em>Amnesiac</em> had a more traditional launch. Despite the fact the band and its label (and subsequently, the press) trumpeted <em>Amnesiac</em> as a return to the classic Radiohead sound, Letts pours water on the idea that it is somehow easier to digest. Although some readers might quibble with her insistence on following the status of the modern subject across both albums, Letts likely never intended her reading as the only one. For Letts, it is clear that a concept album is in the eye/ear of the beholder—a statement that in some ways trumps her conceptual taxonomy but remains entirely inarguable. </p> | ||
| <p>Lettss bigger achievement here is her nuanced approach to Radiohead as commodity, as cog in a larger system the band both reviles and requires. Radiohead embody the irony of trying to make an artistic statement that exists above . . . the corporate culture that will ultimately receive and promote it, then packaging that statement to sell back to the consumer. Radiohead hide from this contradiction within layers of fragmented lyrics, abstract artwork, and labyrinthine websites (I remember the <em>Kid A</em> website reading www.radiohead.com—as useful as a chocolate fireguard). The band has spent years reconciling its public image with its ethical and political commitments by masking both. Radiohead may present a scathing critique of commodity culture but they are reflexive enough to know the role they play in their own commodification. </p> | ||
| <p>In this sense, the resistant concept album becomes a metonym for Radioheads entire career. By resisting the form of the concept album while still adhering to it, <em>Kid A</em> and <em>Amnesiac</em> show there is no escape within the modern human condition, just as there is no escape for Radiohead itself trapped inside the capitalist machine. Letts, via her readings, sees only one way out: In the end, music as a commodity must become self-critical, must confess its commodity character without surrendering its utopian content: that the world could be otherwise. </p> | ||
| <p>This is what was so exciting about <em>In Rainbows</em>. By asking users to set their own price, Radiohead suggested that the world of mass music production could be otherwise. Many in the industry worried the band was devaluing music, giving it away for free. Instead, the <em>possibility</em> of free forced a questioning of the relationships between listeners and the music commodity, which was ultimately freeing. Sadly, Radioheads experiment also made the perfect rock music marketing campaign. Skeptically, <em>In Rainbows</em> showed how far the music commodity could be pushed (i.e. selling it once as a download, once as a CD, once as vinyl and once again as individual songs and tracks). Like the vanishing subject Letts tracks on <em>Kid A</em> and <em>Amnesiac</em>, the utopian potential Radiohead sparked disappears completely, lying dormant and waiting until the bands next album launch. Or as Radiohead sings, and Letts quotes: I will see you, in the next life . . . | ||
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