The Cavern
Rock & Words
THE BENDS (Radiohead, 1995)
Artist: Radiohead (B)
Recording Dates: Aug - Nov 1994
Release Date: March 13, 1995. UK
Record Label: Parlophone / Capitol
Producer: John Leckie y Nigel Godrich
Rating: 10 (MUST HAVE)
Era: Alternative II: The Great Explosion (1990-1999)
Subgenre: Alternative
Best Song: My Iron Lung, or High & Dry or Fake Plastic Trees or… or… uff!
Tracklist: 1) Planet Telex; 2) The Bends; 3) High And Dry; 4) Fake Plastic Trees; 5) Bones; 6) (Nice Dream); 7) Just; 8) My Iron Lung; 9) Bulletproof... I Wish I Was; 10) Black Star; 11) Sulk; 12) Street Spirit (Fade Out).
Sometimes a band reaches an unparalleled peak with an album that becomes a generational gem, defining a decade and transforming them into musical deities with this "non plus ultra" work. It happened to the Beatles with "Sgt. Pepper's," to Pink Floyd with "Dark Side of the Moon," and to Radiohead with "OK Computer." And these albums completely overshadow later or earlier works that equally deserve high praise. Just because Pepper's or Dark Side of the Moon are considered masterpieces by critics and the masses, it wouldn't be fair for great albums like Meddle or Revolver not to achieve a perfect 10. Or would it? They have their own merits, and in my humble opinion, they could even be better without the overproduction of those LPs that eclipse them. History, or rather Billboard and Rolling Stone, have pronounced judgment on the supposed best albums, but at least on this blog, we're not going to lower the ratings of the albums that came before them and that deserve a resounding 10. And The Bends is one of them.
This is a quintessential '90s album, and after all, I can't deny that I'm a child of the '90s. I love the music of that decade, and I even consider the first five years to be a golden age of rock. I was fortunate enough to hear this album shortly after its release because Radio StereoSoul (which I'll never tire of praising) started playing The Bends in '95. At first, it was out of curiosity to follow the guys who had the smash hit "Creep," but as always, they quickly realized its true musical value and played it constantly. It was one of the few stations in Guadalajara that played it from the beginning. I loved it, and it started seeping into my veins long before OK. However, the rest of the world took a long time to appreciate it as much, and it went largely unnoticed and undervalued. Radiohead was labeled a "one-hit wonder." It wasn't until OK Computer made a huge impact that people and critics alike rushed to explore the sources of that masterful sound. Somehow, Thom Yorke and company had become, overnight, the equivalent of Pink Floyd in the nineties. They had undergone a radical transformation, perhaps through an alien abduction and a brain swap that had taken them from making a complacent song like "Creep" and a mediocre album like Pablo Honey to a generational masterpiece like OK Computer.
WELL NO! In the middle is this undervalued gem that did not gain cult status until much later, achieving triple platinum on its own merits, but when the world was already surrendering to its older brother, OK Computer.
Like Revolver or Meddle, this is a transitional album towards a more mature, universal, and artistic sound. It reveals a band aware of its initial limitations and eager to break free from them, not to stagnate with a single sound, but to evolve—an attitude that is commendable and, upon closer examination, few bands possess. This is a remarkable evolution from Pablo Honey. While their debut led to them being pigeonholed with a Nirvana-esque sound, this album is much harder to categorize. The easiest thing to do was to place them within Britpop, but without abandoning some grunge power chords and melodic interplay and ITU-esque atmospheres; even today, it remains impossible to categorize this album. It certainly isn't Britpop, or at least they don't sound anything like Oasis or Blur. Perhaps the most effective move was to tour with R.E.M. and reach that audience of the Georgians, who also don't fit into any label, except perhaps for the ambiguity of "alternative."
Radiohead almost fell apart after the exhaustive world tour for "Creep"—I mean, Pablo Honey—which stretched over a year and even brought them to Latin America to play some small theaters and clubs. There's an urban legend that they performed at an edition of the Cervantino Festival in Guanajuato, when they were still virtually unknown, and that they almost got electrocuted because the venue was so small they had to fit all their equipment into two electrical outlets. Anyway, as I was saying, the band was fed up with the mega-hit, appearing on MTV, doing interviews, and all that nonsense. Yorke says he felt like he was helping to sell out the world. The band's response to this disillusionment was the single and EP "My Iron Lung," released in October 1994, with incisive lyrics and a sound that tried to move away from the simplistic approach of Pablo Honey and "Creep." The song was recorded live at a performance at the Astoria, and Thom's vocals were overdubbed in the studio. With this preview, the band made it clear that they were looking for new paths, shedding the burden of their previous mega-hit and venturing into new, deeper and riskier routes, as suggested by the LP title.
With this determination, they entered the studio, and after some initial difficulties coordinating with Leckie's schedule—they wanted him as producer—they began recording with Godrich in that role. Originally, the album's release date was set for October 1994. The sessions started off very tense, as they sought to surpass the work done on their debut, and the phrase "it's not good enough" was frequently heard. They couldn't even agree on a lead single when it became clear that the LP's release date wouldn't be met. Furthermore, Jonny Greenwood spent hours experimenting with new sounds using rented guitars and amplifiers. He says he was searching for a truly special and unique sound, although Leckie began to despair and kept telling him he had already found it. They had to suspend recording to complete part of their tour commitments, and after the severe tension and having set a new release date for March '95, Leckie took them to the countryside for a break to relieve the band's tremendous stress. There they found a rural studio and, in a more relaxed atmosphere and much more fluidly, recorded much of the material that would appear on the EP "My Iron Lung". After reuniting as a team, Radiohead locked themselves away in Abbey Road Studios (another coincidence with Revolver and Meddle?) and finally finished the songs that would make up The Bends, just in time to meet the deadline.
The result of this pursuit of perfection is brutal. The Bends is a giant leap forward from Pablo Honey, in which Thom Yorke abandons those lyrics of personal and selfish anguish to represent a more universal angst, already hinting at lyrics with social commentary, and using cryptic metaphors of tremendous poetic weight that would become the hallmark of his future work. This new lyricism had such an impact that many media outlets claimed that, based on the lyrics of "My Iron Lung," Thom Yorke would be rock's next suicide martyr. Musically it was also a revolution, with meticulous attention to the textures created, the interplay between power chords and arpeggios, Jonny's flawless guitar effects, the inclusion of synthesizers and keyboards, Thom's refinement of his falsetto to add more emotion to his voice… And in general, the tremendous harmonies, which play sublimely with tones to create sublime, nostalgic songs, yet full of power, without a single song that could be considered filler.
The album opens with “Planet Telex”, featuring a tremolo-laden guitar and Phil Selway laying down a ferocious drum beat. From the very beginning, the atmosphere is bittersweet, driven by the powerful drums and guitar effect, yet with a raw, almost visceral undertone—perhaps Thom's vocals or the second guitar. The tension of this angst is broken by the soaring effect in the chorus. The abrupt cuts after the choruses work brilliantly, allowing the guitar to sustain the song for a couple of seconds before everyone else returns. Somehow, listening to this first track, you realize this isn't just any ordinary work; it's something sophisticated, something unlike anything produced before 1995. The outro, where the tempo slowly slows to a cool, ethereal arpeggio and synthesizer, is simply perfect. Furthermore, the lyrics, though undeniably depressing, have always resonated with me and strike me as genuine, unlike the work of many contemporary grunge artists.
The album's title track, "The Bends", follows, a song that blends musical highs and lows, taking us from an impetuous, distortion-laden beginning to minimalist instrumentation and an almost intimate vocal performance, before exploding again at near-hysterical levels. Here, Colin is the one to watch. I think his bass is a bit low, but I love the arrangement he creates. At 1:55 and 2:55, there are a couple of bridges with tempo changes where only the drums and Yorke remain, and then Jonny launches into a guitar riff that steadily builds tension until the song explodes again, teetering on the edge of hysteria. Incidentally, this is where Thom makes his first political statements: "The planet is a gunboat in a sea of fear / And where are you? / They brought in the CIA, / the tanks and the whole marines / To blow me away, to blow me sky high."
The third track is “High & Dry”, which begins with a very cute acoustic riff that Jonny thought sounded too much like Rod Stewart, and he didn't like it. But anyway, the song is a great ballad that demonstrates they can distance themselves from “Creep” while still being accessible and intelligent. Thom's vocal work is impressive, perfecting his falsetto here with the beautiful “Don't leave me HiiiiiIIIIIIIIIIIIGH…” which gives the song a McCartney-esque shine and a touch that would later lead to so many imitators. The song has hooks that work from every angle, from the vocals and the guitar work that forms the riff, to Jonny's embellishments from the second half onward, and finally, the minimal but incredibly effective guitar solo, which is already one of the most recognizable in the world and is repeated in the coda. A seemingly simple song, but one that manages to combine beauty with intelligence in a way they would only achieve again on “No Surprises.” Furthermore, it is one of the absolute anthems that the band managed to place with this album.
Next comes another song in the same vein, “Fake Plastic Trees”, a scathing critique of the superficiality of modern life. Thom actually based it on the reconstruction of the Canary Wharf shopping complex, where trees were cut down and replaced with artificial ones during the renovation. Thom demonstrates his mastery of crafting hooks and mesmerizing with his voice, sounding perfect in those parts where he suddenly jumps an octave: “If I could BEEE who you wanted….” The song somehow achieves an intimate ballad effect while simultaneously sounding overwhelming and majestic, like a great anthem. This is where the keyboards and violins come into play, and together with Greenwood's explosive guitar work, they create a colossal effect in the middle section.
Then there's "Bones", which starts again with a guitar drenched in delay. See, Leckie? That's why Jonnie spent so many hours searching for this effect! Colin's bass is once again noteworthy, achieving a springy effect that drives the song forward. This time, I get the impression that Yorke overuses the falsetto, but it's not really a big deal. This is the most grunge-sounding and out-of-place track on the album, and while it's not a bad song or even filler, it's perhaps the weakest on the record.
Fortunately, they return with another strong contender, “(Nice Dream)”. The song begins with acoustic guitar riffs and a calm, peaceful feel, with lyrics that are quite optimistic by Yorke's standards and a lovely harmony. In the background, we hear violins and another guitar playing arpeggios that help inspire that tranquil, almost sleepwalking and hopeful atmosphere, until at 2:25 the sweet dream seems to take a turn, with an abrupt change of rhythm that feels like it's descending into a nightmare. At least that's the effect it has on me, and that nightmarish effect isn't a bad thing at all... in fact, they'll exploit the device better in “My Iron Lung”, but here it works very well. A great song, and it gives me the impression that the seeds of OK are already very much present here.
And without missing a beat with the great tracks, we continue with “Just”, featuring masterful guitar work that reminds us that virtuosos don't just have to do things like Hendrix. It's a great song where Jonny deliberately uses the same destructive mandolin effect he employed in the choruses of “Creep,” but here he manages to imbue it with perfect power and intensity. Undoubtedly, Thom's work is excellent, but this song is pure guitar, and anyone who doubts that Greenwood is one of the greatest guitarists of our time only needs to give this killer track a listen.
Next comes “My Iron Lung”, which, among so many great songs, is my personal favorite on the album. It's the one that made the biggest impression on me on first listen and continues to amaze me every time I hear it. The opening arpeggio is sublime and sophisticated, with a sharp guitar tone. Then, the bass builds upwards, signaling the shift, and Thom sings all his despair and anguish, with heartbreaking yet poetic lyrics, not the mere emo verses so common these days. The song builds in intensity with the background effects, creating a truly majestic atmosphere. And then, suddenly, without warning, halfway through that enchanting arpeggio at the two-minute mark, all the heavy artillery kicks in. The drums go wild, the vocals sound almost epileptic, and the guitar transforms from a delicate sound into a machine gun, riddled and bleeding, sounding like barely controlled chaos amidst so much beauty. It really feels like the song is broken apart, as if they accidentally included a piece of another track, and that's precisely where its brilliance lies—in the song's ambivalence, highlighting the stormy lyrics and the work's expressly anti-commercial intention. At 3:40, after the second of these chaotic episodes, only a very intimate Thom remains, whispering "if you're frightened…" and then it segues back into that explosion of rage, anguish, bitterness, chaos, and apocalyptic musical orgasm, ending in the same way, without any transition, straight into silence. Impressive. This song made me realize that Radiohead was a band composed of several musical geniuses. MTV would have needed the OK to do it, and even today it's not one of people's favorite songs. Originally, the album was going to be titled after this song, but since the previous EP had used that title, it was impossible. Furthermore, the original LP cover was going to depict an iron lung, but the idea fell through, and they ended up with that strange collage of a crash test dummy with Thom's face. And this song was also the band's response to the world trying to pigeonhole them as a commercial success, so I think it holds special meaning for them as well.
The ninth song is “Bulletproof… I Wish I Was”, whose title reminds me of that line by Sabina where he says that if suicide were reversible, we would all commit suicide two or three times in our lives. The song is very sweet and delicate, again with an acoustic atmosphere and almost ethereal sounds in the background, which are none other than Jonny and his musical curiosity and ambition. The vocal harmony is beautiful, and the guitar arrangements and riffs during the choruses help to support the song's gentleness, which again has a very abrupt ending.
Then comes “Black Star”, with a very catchy chorus. Good teamwork, but I don't think anything particularly stands out (except for the bass in some parts), and the song is somewhat complacent, closer to their previous album, but it's not bad. Hey, not every song on the album can be a timeless classic, right? On another note, wouldn't it be interesting if Muse did a cover of this track?
Next up is “Sulk”, with a more accomplished swaying harmony and greater intensity. The guitar arrangements are once again outstanding, particularly the solo that includes a key change at 2:30. This time, Thom returns to social commentary, as the lyrics are inspired by the Hungerford massacre of 1987.
The album closes with “Street Spirit (Fade Out)”, a song built upon another masterful arpeggio. Notice how Greenwood manages to craft arpeggios with their own distinct identity, each one completely different from the others? This is another killer track that has achieved classic status for the band. The guitar and vocals, once again on the verge of collapse, slowly build musical tension as other instruments gradually join in, from the drums, minimal at the beginning, to keyboards, triangle... Suddenly, the drums kick in, and before we know it, we're immersed in a complex and spectacular polyphony without the song's structure having changed one iota. The lyrics are supposedly inspired by the book “The Famish Road” by Nigerian author Ben Okri, which I haven't read. It's a song of simple beauty that demonstrates how the band incorporates elements to transform and maintain the same sound simultaneously, achieving complex textures very close to those they would later create on OK Computer.
In short, a great album from every angle. It's a shame it received little recognition at the time, but better late than never. Ultimately, it would end up influencing countless bands, perhaps even more decisively than OK!. In a way, this album helped groups like Oasis and Blur take a step towards maturity with works like "Masterplan" and "Blur" in '97, although by then Radiohead was already on another level. Furthermore, it was this album, and no other, that spawned a multitude of vocal imitators of Yorke, some successful like Bellamy from Muse, and others disastrous clones like Coldplay, Keane, or even James Blunt. This led the band to distance themselves from such imitations and seek new, riskier, less commercial sounds, leaning more towards electronic music and more challenging to digest, from Kid A onward, constantly reinventing themselves.
Some say this album is the quintessential gem of the nineties, the one that best combines the decade's two main currents: U2's atmosphere, harmonies, and textures with grunge's raw power. I agree. And they themselves proclaim that the sound is incredibly dated and nineties, and that it sounds old today, which I disagree with. I think the proof is that the songs remain relevant and fresh, and many of the tracks on this album retain their status as essential classics in live performances. Finally, the historical greatness of OK Computer is unthinkable without The Bends. OK Computer may be the pinnacle, but the true revolution created by Radiohead began with this album. For all these reasons, The Bends is not only a 10, but a must-have that continues to pave the way.
By Corvan
Jul/9/2009
