Newsgroup: it.arti.musica.rock
Titolo: Radiohead-Oxford

perche' nessuno ne ha ancora parlato?
If Radiohead controlled the
weather, they could have made the stormclouds above South Park piss all
over their hometown teddy bear's picnic right at the crucial point in
'Paranoid Android' when Thom pleads "rain down on me..." Instead, the storm
breaks three songs later, unleashing a downpour of Biblical proportions. So
it's official: Thom Yorke is not god after all. 
Rewind an hour and
Radiohead are wired from the start - nerves, maybe, or pure adrenaline.
Opening drone-projectile 'The National Anthem' is taut and fraught, surfing
on dirty scuzzfunk bass. Then 'Airbag' is raw and rugged, its DJ Shadow
clusterbeats stoned on heady space-rock. Thom spins like a broken
gyroscope, words vomiting from his unshaven jaw. The others follow suit,
Colin spazzing like a speedfreak, Jonny fizzing with sonic fireworks, Ed a
jack-knifing juggernaut. This is clearly a band aiming for visceral garage-
rock rather than cerebral avant-jazz. A band with something to prove.
The staging is puritanically minimal, foregrounding Radiohead's keep-it-
real art agenda. The gamble pays off, mainly because they play with guts
and masses of hits: a howling 'Lucky', a shimmering 'No Surprises', a
toweringly anthemic 'Fake Plastic Trees'. Meanwhile, grainy video screens
flicker with monochrome up-the-nostril close-ups of Thom hunched over his
piano. He looks like an angry anchovy, eyes screwed tight, quaking with
emotion. This is not brain music. On good form, Radiohead do choking
intensity better than anyone. 
'Amnesiac' holds up well against
heavyweight competition. For anyone left cold by the album's wheezing,
antique textures and cryptic sentiments, most of these tunes grow sharp
claws and gnarly attitude in public. 'Packt Like Sardines In A Crushed Tin
Box' is wiry and animated, with Thom growling "I'm a reasonable man, get
off my case" through gritted fangs. The skimming melancholy of 'Knives Out'
becomes a full-blooded lament, while the caustic 'Dollars And Cents'
scuttles and hisses like an insect army on the march. 
But the opaque
jazzerama side of 'Amnesiac' gets lost in the rush. Only the fractal time
signatures and seasick piano swells of 'Pyramid Song' allow Radiohead to
indulge their Thelonius Monk tendencies. The silvery spine-tingler 'You And
Whose Army?' is delivered on a low heat, without the usual Blair-baiting
preface or Billie Holiday sobs. And one sad absentee is the album's
splendidly splenetic, brass-driven finale 'Life In A Glasshouse', despite
guest player Humphrey Lyttelton sharing the South Park bill. A missed
opportunity, since one of the teasingly unresolved threads of 'Amnesiac' is
of 21st century big-band jazz, an alternative pop history where trombones
outlast guitars. Shame. Maybe next time. 
This is essentially the same
set Radiohead have been slogging around Europe for two months, with the
sole and significant addition of 'Creep' as a rousing, incandescent encore.
But in fairness, for most of South Park's sodden souls, this rarely revived
landmark single is the icing on a flawless evening. A beaming Thom seems to
offer it as an afterthought, a reward, a cathartic affirmation. Everybody
within 30 miles of Oxford sings along, soaked to the bone, bonding in the
Biblical downpour that even Thom Yorke was powerless to prevent.
Because Radiohead are not gods. But for these two hours, at least, they
were godlike
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perche' nessuno ne ha ancora parlato?
Personalmente, perché Oxford è appena appena fuori mano.