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





Ivy Mix's 'Spirits of Latin America' Evokes the Ancestors

A common thread unites Ivy Mix's engaging Spirits of Latin America; "the chaotic intermixture between indigenous and European traditions" is still an inextricable facet of life for everyone who inhabits the "New World".


Contemporary Urbanity and Blackness in 'New Jack City'

Hood films are a jarring eviction notice for traditional Civil Rights rhetoric and, possibly, leadership -- in other words, "What has the Civil Rights movement done for me lately?"


'How to Handle a Crowd' Goes to the Moderators

Anika Gupta's How to Handle a Crowd casts a long-overdue spotlight on the work that goes into making online communities enjoyable and rewarding.


Regis' New LP Reaffirms His Gift for Grinding Industrial Terror

Regis' music often feels so distorted, so twisted out of shape, even the most human moments feel modular. Voices become indistinguishable from machines on Hidden in This Is the Light That You Miss.


DMA's Go for BritElectroPop on 'The Glow'

Aussie Britpoppers the DMA's enlist Stuart Price to try their hand at electropop on The Glow. It's not their best look.


On Infinity in Miranda July's 'Me and You and Everyone We Know'

In a strange kind of way, Miranda July's Me and You and Everyone We Know is about two competing notions of "forever" in relation to love.


Considering the Legacy of Deerhoof with Greg Saunier

Working in different cities, recording parts as MP3s, and stitching them together, Deerhoof once again show total disregard for the very concept of genre with their latest, Future Teenage Cave Artists.


Joshua Ray Walker Is 'Glad You Made It'

Texas' Joshua Ray Walker creates songs on Glad You Made It that could have been on a rural roadhouse jukebox back in the 1950s. Their quotidian concerns sound as true now as they would have back then.


100 gecs Remix Debut with Help From Fall Out Boy, Charli XCX and More

100 gecs' follow up their debut with a "remix album" stuffed with features, remixes, covers, and a couple of new recordings. But don't worry, it's just as blissfully difficult as their debut.


What 'Avatar: The Last Airbender' Taught Me About Unlearning Toxic Masculinity

When I first came out as trans, I desperately wanted acceptance and validation into the "male gender", and espoused negative beliefs toward my femininity. Avatar: The Last Airbender helped me transcend that.


Nu Deco Ensemble and Kishi Bashi Remake "I Am the Antichrist to You" (premiere + interview)

Nu Deco Ensemble and Kishi Bashi team up for a gorgeous live performance of "I Am the Antichrist to You", which has been given an orchestral renovation.


Rock 'n' Roll with Chinese Characteristics: Nirvana Behind the Great Wall

Like pretty much everywhere else in the pop music universe, China's developing rock scene changed after Nirvana. It's just that China's rockers didn't get the memo in 1991, nor would've known what to do with it, then.

Collapse Expand Reviews

Collapse Expand Features
PM Picks
Collapse Expand Pm Picks

© 1999-2020 All rights reserved.
PopMatters is wholly independent, women-owned and operated.