Music

Radiohead - "Lift" (Singles Going Steady)

The OK Computer reissue keeps on giving with the new video for previously unreleased track “Lift”.

Steve Horowitz: Being detached from life and involved in it: what choice does one have? The narrator of this song watches and waits for something to happen. It never does. Radiohead musically delineates the Zeitgeist of living in a world that doesn't make sense even when it seems to on the surface. We wait. We wait. What are we waiting for? Radio understands the waiting is all we have -- and there's solace in that. The melody and soft touch of sound bring comfort to those afflicted with feelings. [8/10]

Ian Rushbury: Radiohead could do very little wrong in 1997 and “Lift” is proof. It’s practically a pop tune -- no wilful art damage at all. It would have sat nicely on OK Computer and I’m scratching my head, wondering why it didn’t make the cut. Dynamics, great tune, and almost a chorus -- there’s lots to enjoy here. Once you get past the rather out of place “overture” at the top of the piece, it’s good news all the way. And the video is funny, weird and disturbing all at once. [8/10]

Adriane Pontecorvo: The OK Computer reissue keeps on giving with the new video for previously unreleased track “Lift”. It’s definitely one for the fans as Thom Yorke rides a lift with a rotating cast of Radiohead references, and the music soars with heartfelt emotion. As Radiohead songs go, it’s a straightforward one, and there’s nothing wrong with that. Sometimes, it’s cathartic just to let Yorke’s voice flood forth, and on “Lift”, he and the rest of the band are a powerful flow of smart, radio-friendly '90s rock. [7/10]

Tristan Kneschke: After a moment of undeserved spite, Thom Yorke travels an elevator from hell on Radiohead’s new single, continuing the band’s 20-year anniversary celebration of OK Computer. The increasing array of bizarre vignettes are another of Radiohead’s acerbic critiques of modern capitalism, where even an elevator can be the source of claustrophobia, alienation, and even a place where the laws of physics can bend. [8/10]

William Nesbitt: A little too pastoral for the cold circuitry of OK Computer, it’s easy to see why this didn’t fit the album. It’s an interesting glimpse into a side road that Radiohead could have followed and a pretty, melancholic throwback to The Bends, though the lyrics about a man trapped in an elevator fill OK Computer’s thematic agenda about technology and isolation. It’s better than a lot of the expanded material on bonus albums and maybe just a few tweaks away from having made another album somewhere along the way. Not quite an A-side -- at least for OK Computer -- call it a B+-side. [7/10]

John Garratt: I love how one of Radiohead’s leftovers can sound more fully realized than the hit singles of other bands. And yeah, I never know what to say to people in an elevator either. [8/10]

SCORE: 7.67

So far J. J. Abrams and Rian Johnson resemble children at play, remaking the films they fell in love with. As an audience, however, we desire a fuller experience.

As recently as the lackluster episodes I-III of the Star Wars saga, the embossed gold logo followed by scrolling prologue text was cause for excitement. In the approach to the release of any of the then new prequel installments, the Twentieth Century Fox fanfare, followed by the Lucas Film logo, teased one's impulsive excitement at a glimpse into the next installment's narrative. Then sat in the movie theatre on the anticipated day of release, the sight and sound of the Twentieth Century Fox fanfare signalled the end of fevered anticipation. Whatever happened to those times? For some of us, is it a product of youth in which age now denies us the ability to lose ourselves within such adolescent pleasure? There's no answer to this question -- only the realisation that this sensation is missing and it has been since the summer of 2005. Star Wars is now a movie to tick off your to-watch list, no longer a spark in the dreary reality of the everyday. The magic has disappeared… Star Wars is spiritually dead.

Keep reading... Show less
6

This has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it.

It hardly needs to be said that the last 12 months haven't been everyone's favorite, but it does deserve to be noted that 2017 has been a remarkable year for shoegaze. If it were only for the re-raising of two central pillars of the initial scene it would still have been enough, but that wasn't even the half of it. Other longtime dreamers either reappeared or kept up their recent hot streaks, and a number of relative newcomers established their place in what has become one of the more robust rock subgenre subcultures out there.

Keep reading... Show less
Theatre

​'The Ferryman': Ephemeral Ideas, Eternal Tragedies

The current cast of The Ferryman in London's West End. Photo by Johan Persson. (Courtesy of The Corner Shop)

Staggeringly multi-layered, dangerously fast-paced and rich in characterizations, dialogue and context, Jez Butterworth's new hit about a family during the time of Ireland's the Troubles leaves the audience breathless, sweaty and tearful, in a nightmarish, dry-heaving haze.

"Vanishing. It's a powerful word, that"

Northern Ireland, Rural Derry, 1981, nighttime. The local ringleader of the Irish Republican Army gun-toting comrades ambushes a priest and tells him that the body of one Seamus Carney has been recovered. It is said that the man had spent a full ten years rotting in a bog. The IRA gunslinger, Muldoon, orders the priest to arrange for the Carney family not to utter a word of what had happened to the wretched man.

Keep reading... Show less
10

Aaron Sorkin's real-life twister about Molly Bloom, an Olympic skier turned high-stakes poker wrangler, is scorchingly fun but never takes its heroine as seriously as the men.

Chances are, we will never see a heartwarming Aaron Sorkin movie about somebody with a learning disability or severe handicap they had to overcome. This is for the best. The most caffeinated major American screenwriter, Sorkin only seems to find his voice when inhabiting a frantically energetic persona whose thoughts outrun their ability to verbalize and emote them. The start of his latest movie, Molly's Game, is so resolutely Sorkin-esque that it's almost a self-parody. Only this time, like most of his better work, it's based on a true story.

Keep reading... Show less
7

There's something characteristically English about the Royal Society, whereby strangers gather under the aegis of some shared interest to read, study, and form friendships and in which they are implicitly agreed to exist insulated and apart from political differences.

There is an amusing detail in The Curious World of Samuel Pepys and John Evelyn that is emblematic of the kind of intellectual passions that animated the educated elite of late 17th-century England. We learn that Henry Oldenburg, the first secretary of the Royal Society, had for many years carried on a bitter dispute with Robert Hooke, one of the great polymaths of the era whose name still appears to students of physics and biology. Was the root of their quarrel a personality clash, was it over money or property, over love, ego, values? Something simple and recognizable? The precise source of their conflict was none of the above exactly but is nevertheless revealing of a specific early modern English context: They were in dispute, Margaret Willes writes, "over the development of the balance-spring regulator watch mechanism."

Keep reading... Show less
8
Pop Ten
Mixed Media
PM Picks

© 1999-2017 Popmatters.com. All rights reserved.
Popmatters is wholly independently owned and operated.

rating-image