Customer Reviews

The Eraser

5 star:		(118)
4 star:		(61)
3 star:		(31)
2 star:		(10)
1 star:		(16)

 

 

Warning to all Radiohead fans: if electronic music turns you off, you'd best avoid this first solo album by the band's frontman Thom Yorke. Not only is it alomost completely electronic, but much of it has a mildly glitchy quality. Further, most of it isn't at all danceable (of course, I still don't get how people dance to say, drum n' bass, but they do--which is another matter entirely).

However, if you're the type of person who can easily get into the chilly, synthetic soundscapes of modern electronica, or if you just like the persona that Yorke has made for himself over the years, then this is the type of thing you'd dig. "The Eraser" is low-key electronic pop of the highest order, perhaps comparable to Radiohead songs such as "Idioteque" or "The Gloaming," but really closer to Bjork's "Homogenic" album. While this is definitely not the overwhelming masterpiece that many Radiohead fans seem to demand with each new release (only to be disappointed when they discover that it's actually made by mortal men), it's a modest thing, the perfect kind of interim release to tide us over.

Some things, of course, never change. Yorke is as anxiety-ridden and morose as ever. On most of the songs, he's pretty much resigned to being uncomfortable in his own skin. Unlike some of Radiohead's best moments, such as the uber-landmark "O.K. Computer," Yorke is at least seeing himself as part of the problem. "The Eraser" is the story of the "I"; previously, his complaints and harangues were often depersonalized and coldly observed. Some of this could be the work of Trent Reznor's nerdier brother!

A couple of moments are even overtly political. On "Atoms For Peace" he moans, like a mantra, "So may lies, so many lies, so many lies" as a way of referencing the Iraq war. "The Clock" could be about the threat of global warming, but it's way more tuneful than Al Gore. On even the most downbeat moments on the album, Yorke doesn't forget to be melodic. Since his voice is presented here raw and unprocessed (again, unlike much of Radiohead's work), it's easier to concentrate on the tunes.

Actually, since I'm sometimes put off by some of Radiohead's more anthemic tendencies, I appreciate how "The Eraser" steadfastly refuses to get grand or sweeping. Yorke is probably one of the most self-effacing figures ever to gain such an international cult following. To reference one Radiohead title, this album could be an effort to "disappear completely." It's probably ironic, then, that Yorke is now more visible than ever. That's probably this album's greatest flaw: while it almost insists that it's a minor release, a curiousity--it leaves you wanting more.

Amazon reviews are funny things. Let's face it. They typically go one of two ways. Either the reviewer LOVES or HATES the product and/or artist. This is rarely the place for objectivity. Hopefully this review will be different.

I'll confess up front. I love Radiohead and would have bought this album regardless. That said, let me list some of the pros and cons of this CD.

Cons
1. If you are looking for easily accessible music with deep hooks, you probably won't like this. Radiohead (and Yorke) have always been more about sonic landscapes and tone than catchy grooves. Of course, they often manage to accomplish both.The bottom line, I think, is this is an album for Thom Yorke fans.

2. Much of the disc is rooted heavily in ambient music. Although this isn't necessarily a bad thing, if you are like my best friend who has an automatic bias against music without lots of guitar, you probably won't enjoy this much.

Pros
1. As mentioned above, this album is full of atmosphere. It takes a few listens before it worms its way into you brain, but once there it becomes increasingly compelling. Have patience. Put it in the disc player in your car and try to drive around until the album is finished. Like "Kid A," this is best listened to uninterrupted (at least at first).

2. Like some of Radiohead's best tracks, much of this album is richly if subtly layered. The result is that tracks not only hold up to repeat listening, they change with increased familiarity. This material won't quickly wear thin the way overly catchy pop does.

3. Don't forget. Yorke himself is more like an instrument than a singer. His voice is simply gorgeous and compelling.

Why only 4 stars? Well, I'm still getting the feel for the disk. It's quite possible I'll like it much more in another week or two. Who know? I hated "Kid A" at first, but it soon grew to be one of my favorite discs of all time. I wouldn't hesitate to rank it right up next to "Abbey Road." Also, I just saw Radiohead in Chicago where they played 8 or 9 new tracks that just blew me away. I really hope they pick a new label soon because I can't wait for that stuff to see release.

Bottom line. Is it as good as Radiohead? Perhaps not, but Yorke is always compelling and intelligent. This disc will hold you over until the band decides on their next move and who knows? It may just turn out to be one of your favorite albums. All you need is a little patience.

It wsa quite a surprise when it was announced a few months ago that Radiohead's Thom Yorke was about to release a solo album. Unlike many releases (say, Radiohead's next album, slated for a 2007 release), there had not been a long built-up to it. The news came out, and not long thereafter, the album came out.

"The Eraser" (9 tracks, 41 min.) is very much a solo release, even if sniffs of unreleased Radiohead music is used (such as the Johnny Greenwood piano "riff" in the title track). This is basically Thom noodling at home/in the studio with electronics. There are no drums on this album, and no guitars to speak off. Also not very many melodies, which may bother a lot of people. It didn't bother me at all. This is a mood piece, pure and simple. If you like this mood (reminiscent of the title track of Radiohead's "Kid A" album), you will enjoy this a lot. If you don't, do yourself a favor and don't buy this.

It's hard to point to highlights as such, as the tracks kinds flow along (and at 41 min., this album is over before you know it, which is not a bad thing at all). My personal favorite tracks are the title track, "Black Swan" and "Harrowdown Hill", which is being released as a single in the UK. If you like "Kid A" (which happens to be my favorite Radiohead album), you surely will like this. Yet, that said, at certain points in the album, I find myself wishing that the muzzle that is around these tracks, would come off and burst into more. But that is why this is a solo release, and not a Radiohead album. Proving perhaps that the other Radiohead members contribute a lot more to the "Radiohead sound" than what is often believed to be the case.

The reviews for any Radiohead album post-OK Computer always, always, ALWAYS drive me crazy. It seems that there is not a single reviewer out there - not the professional ones anyway - who isn't waiting patiently for Radiohead to "save" rock music like they supposedly did back in '97 when OK Computer was first released. Since then, the pressure has been tremendous for Thom and the boys to continue to "lead the pack," whatever that means, and re-invent themselves with each and every endeavor. Someone who reviewed The Eraser recently actually took up space to lambast Hail to the Thief for sounding like a "greatest hits" album, and not furthering the band's sound. Oh, he also doesn't like The Eraser for the same reasons. These people need to get over this messiah complex and just enjoy the frigging music!

Yes, Thom Yorke's "solo" debut invites comparisons to Kid A and Amnesiac, and that's because Thom made most of these rhythms on his computer during these sessions. Songs like Packt Like Sardines in a Crushd Tin Box from the album Amnesiac would feel right at home on The Eraser. With the help of Nigel Godrich, Thom found melodies and arrangements to go with his noises, and for the most part it is very enjoyable listening for those who will take the time to listen. I like the tinkling guitar in Black Swan, the quietly soaring sound of Atoms for Peace, and the dirty sampled piano of the title track. I am not an electronica fan by any means, but I like Thom's voice, his lyrics, and his song structures. Is The Eraser going to change rock music as we know it? No. That wasn't Thom's agenda, despite what some music reviewers seem to think his unending crusade SHOULD be.

This is my first review on Amazon in a very long time, so I thank you all in advance for your patience. I've read a number of the reviews here--mostly those that lend constructive criticism or compare this record to "Kid A"--and suddendly became motivated to write again. Let me begin by stating that I understand the genesis of the "Kid A" comparisons. "Kid A" was Radiohead's first album with an obvious penchant for electronia, and it follows that "The Eraser"--heavily steeped in the same--would quickly draw those comparisons. But, needless to say, I place "The Eraser" in the company of "Amnesiac" and "Hail To The Thief" before anything else--if anything all. There are some loose similarities. From the very beginning of the title track, you are given that tired piano that soon learns to dance like the one that brings life to "Pyramid Song," although this time at a quicker clip. Two tracks later "The Clock" sounds somewhat reminiscent of "Dollars and Cents. One song after that and you hear bits and pieces of "There There" in "Black Swan."

These similarities are nice, but what is most interesting about this album is how Thom Yorke, with or without Radiohead, continues to expand his repertoire. Whether the expansions are deemed "good" is the purpose of our debates here, but I have never before heard something that even loosely resembles "Atoms For Peace" from Yorke or Radiohead. And this is good news: I don't think we'll ever get another "OK Computer"-type record from Radiohead, for instance. What is special about "OK Computer" is its unique place in musical history; there simply isn't a similar record out there. The opposite can be said for Pearl Jam's "Ten" and "Vs.," for example, which have been continually compared since the latter's release in 1993 and almost subtract from one another's brilliance in those comparisons. To further this point, but to appease those who want the comparison fix, I give you this: We have been drooling since 1997 for another falsetto moment (e.g., "Let Down") that really never surfaced. "Atoms for Peace" finally gives it to us, but not with the dramatic inertia that "Let Down" exalts. It's much different; in fact it's folky, almost Joni Mitchell- or Neutral Milk Hotel-style. This is a demonstrable expansion for Thom Yorke, and hopefully something that will reappear on Radiohead's forthcoming album.

As we read months before this release, the presence of the electronica and beat sequences give "The Eraser" its immediate identity--and moreso than on "Kid A" or "Amnesiac". This sets the tone for the lyrics, which find their ranks accordingly throughout many of the songs. There's an edge to this record, which songs like "Black Swan," "And It Rained All Night," and "Harrowdown Hill" create. The lyrics themselves and their delivery are along the same lines as the earlier Radiohead songs, making the songs' meanings more understable than most of those on Radiohead's last three albums. And then there's the coming-out party for Thom Yorke's enchating voice. Thank you, Thom, for giving us something beyond the mumbling electronica that is "Pulk/Pull Revolving Doors."

The standout piece is the title track. "Analyse" and "The Clock" are pleasantly nervous--nice pieces to accompany a lonely drive at dusk. The body of the record is creative, interesting, and increasingly better with subsequent listens. "Harrowdown Hill" and "Cymbal Rush" combine for a very nice conclusion. Four and a half stars for an innovative record. Substitute "Skip Divided" with something better and I'd give it five.

The Eraser is NOT Radiohead. Stop comparing it to the Band. This is merely an opportunity for Thom to do his own thing. Whether or not you like it, should be based on the sound of this album alone. You cannot compare this to Kid A or Ok Computer. Is Thom expected to play 5 different instruments at the same time? This album is very good....it is good because Thom went out on a limb and for that you have to respect him. He could have opted not to make the album and been scared of what all of you were going to say. He obviously doesn't care what some wannabe musicians (who draw inspiration from his work anyway) think of him. Stop analyzing texture, tone, vocals, etc....you are not a music critic...you just wish you had an ounce of his talent so that you could move out of your parents basement and do something real....the eraser is a great album if you are not an overanalyzing degenerate.

When asked in 2000 whether there were plans for a solo album, the Radiohead frontman said he wasn't ready for that yet. However, even then, he'd been writing and recording bits and pieces in hopes of releasing a solo album some time in the future. Over the years, these pieces became songs and Thom Yorke realised that he'd gathered the confidence necessary to make a solo album. The Eraser sees Thom Yorke trying modestly to express himself in ways he cannot in Radiohead, hence the choice for a solo release.

The Eraser is an album of songs written almost entirely on Yorke's laptop in a span of nearly six years. Together with long-time producer Nigel Godrich, he has put together experimental pieces, mostly consisting of electronica with waves of synthetic textures and static drum beats. There is hardly any guitar on the album, but this actually lends it a more unified aura. Some have said it is a mix of Kid A's electronica and Amnesiac's acoustic minimalism, which is agreeable to a certain extent. However, considering Yorke is one of the main composers in Radiohead, traces of his songwriting are bound to come through on any disc he puts out. It is undeniable that there is a vague reference of Amnesiac's "I Might Be Wrong" on "The Clock" in that both songs achieve minimalistic results, except that "The Clock" brings in bigger beats, cool piano passages, and adds a relevant social commentary in the lyrics department. It is actually quite interesting to find out Yorke enjoyed writing and recording this song the most, as he was inspired by African guitarists laying down improvised riffs and jamming together with Robert Plant on stage, which Yorke copy-pasted numerous times before adding his own spin to it.

The album's standout tracks are decidedly the title track whose addictive chorus with Yorke's desperate croon at the end ranks among the best moments on this disc; as well as "Black Swan" for its harmonized bass and sparse keyboard notes guiding a beautiful vocal melody. This song, unlike the others, has a great groove to it and repeats a strangely beautiful verse before seguing into the semi-autobiographical "Skip Divided", with its weird tribal rhythms, sweeping arrangement, and lyrics focusing on lack of communication.

It is hard to argue against the melodic quality and clever mixing achieved on "Atoms for Piece", complete with looped sound effects, minimal guitar riffs, and on top of all, Yorke's incredible vocals. In no other song, on this album or in the Radiohead discography, is Yorke's voice so defenseless, bare and pure. There are no echoes which have characterized his vocals since OK Computer. Nor have they drenched his voice in reverb. It is certainly interesting to hear his vocals so upfront and dry, which could be attributed to all the songs on this album. Also worth mentioning is how well the song is structured despite its pulsating micro beats and cascading sythesizers. It begins with the exact same electronic beat that starts the song.

"Harrowdown Hill" kicks in after the somewhat more upbeat and energetic number "And It Rained All Night", with some Hail to the Thief vibes happening and a cool keyboard drone rising madly. Yorke patiently sets his falsetto against this drone and lets the piece fade out slowly. "Harrowdown Hill", arguably the best song, is very angry lyrically. It was inspired by the suspicious death of British U.N. weapons inspector David Kelly, and raises an interesting point when Yorke repeatedly asks, "Did I fall or was I pushed? Where's the blood?" - it's a song that brings in surging bass, percussive beats, and an indelible chorus. Yorke's personal favourite song "Cymbal Rush" closes the album, recalling Bjork's Homogenic with her vocals used on Medulla. Actually this song feels like a distant cousin to these albums with its shimmering synth textures and a huge sound.

It has to be repeated that The Eraser, while obviously containing some Radiohead elements, should be judged on its own merits. This is a study to discover how simple and pure music can be; and although written with less control and definition, the songs are arguably among the most focused and coherent in Yorke's career, not to mention the most vocal-based ones. It could be argued that the production, unlike Radiohead's, is way too claustrophobic, which is true, but after all, this is a solo album by one of the most important musicians of the 90's trying to prove to himself that he is capable of composing songs on his own as well. Yorke obviously did not set out to break new ground with The Eraser, so stop expecting that of him. Just take it for what it's worth. Once it gets in your blood, it does. And if it doesn't, stop trying. This disc isn't the type which should be forced on listeners anyway. People will either like it or not.

Yorke takes what he & his bandmates started en masse on _Kid A_ and strips it all the way down here. People will call this "minimalism" & not mean it as a compliment. The detractors of this album will mean that its minimalism, as Raymond Carver notes about his critics, "smacks of smallness of vision and execution." Oh how wrong these people are. It's as if, like a master storyteller on the level of Carver, Yorke had to get alone to begin to make sense of the unlimited sound in his head, get in touch with his mind, spirit, and body. Indeed he does this in a way that pleases and disorients as consistently as he did on _Kid A_, an experience quite amazing for this reviewer.

Just listen to "The Clock." It's Yorke dancing his own hyperactive dance with himself. You've got the insistent percussion of the variety of throat sounds with which he accompanies himself on top of busy drum and click tracks. If this is minimalism, it comes in spasmodic jerks. The repeating harmonic track, mostly some sampled guitar and a few notes from a keyboard, is by and large sparse, but I assure you that the emotion is not sparse when he goes into a harmonic melisma with himself around the four minute mark. I know of no singer who can wring as much pathos from an "oooooohhhhhh-oooo-oooo."

"Black Swan," with its "this is f****d-up" refrain seems destined to be the most famous track from this album. Its bass line alone instantly chisels itself in your psyche. It has a once-more spasmodic quality that instantly chisels its high notes in your psyche, making you pay attention. This contributes to its jazzy quality, the kind of jazz that only Yorke can make with himself (with a little help from Nigel Godrich). His fluid and almost improvisational-seeming delivery of his lyrics recalls classic jazz singers like Mel Torme; I know, Yorke is not traditionally associated with this guard. Rest assured that if you snap your fingers to this CD, it will be a much more frenetic experience than snapping your fingers to Tony Bennett or other pre-postmodern jazzifiers.

Every song on here is strong and doesn't disappoint if you take it on Yorke's terms. He certainly offers nothing to those who want to hear "Paranoid Android," part 2. It seems the reviewer below me has been expecting this kind of thing for the last nine years, much to his chagrin, when he writes that _The Eraser_ is "a lot like rafting down a river--only there are no rapids, bends, turns, or drops. it's like your facing forward the entire time, going 5 miles an hour. it can be pleasant, but would you really want to do it for an hour?" I agree with him on a level; there is a kind of trapped vertigo here. But one that I love (and could handle for an infinity of hours). Like the best artists (Beckett comes to mind), Thom Yorke takes stasis as its own virtue. _The Eraser_ can be a very gloomy experience. But I must disagree with this reviewer when he says "there are no rapids, bends, turns, or drops." Granted, they come "in a silent way," for a large part, but they are there. No crashing power chords like in "Creep," but more of a hyperkinetic mental quality, the kind that computer blips and beeps capture wonderfully. Perhaps an acquired taste, I guess.

My favorite piece in these regards is "Atoms for Peace," based around a simple sine wave riff, with some sine wave percussion thrown in for good measure (and on top of that--could you have guessed?--a repeating discordant sine wave harmony along with, gasp, a few bars of subdued guitar). In a few words, Stockhausen-inspired minimalism at its starkest. The melody that Yorke sings over this absolutely catapults the song into a riveting listening experience when it hits the chorus. He is certainly passionate about his subject matter, it is just that his subject matter does not call for dramatic dynamic shifts within the song.

This is not to say that the dynamic does not shift from song to song. From "Atoms for Peace" to "And It Rained All Night" there is a considerable shift in mood and intensity. And "It Rained . . ." has a true breakdown in the middle. If it isn't a "rapid" it is at least some sort of unquantifiable musical quasar.

I was tempted to give this 4.5 stars, if only for the reason that some of Yorke's vocal melodies hearken to others on Radiohead albums. I have decided that this is part of his impeccable approach and am giving it a perfect five. What great composer does not revisit his own past? The difference from the men and the boys is whether or not the composer makes his revisitations new. Yorke does this in the most memorable fashion. I'll let you find out for yourself. You'll hear melodic snippets from _Amnesiac_, _Hail to the Thief_, etc. You'll listen to the whole album. And think "I've heard that before." At the same time the world will seem altered.

Yorke has done the seemingly impossible in his career. He has practiced his craft for almost fifteen years without one single artistic failure. Indeed, he actually seems to be getting better with age. He has taken the keyboard minimalism of _Kid A_to its full fruition here. One can only imagine what new frontier he and Radiohead will open on their next album. One thing never to expect with Yorke, though: more of the same. If you truly open your ears here, you will hear the constant revolutions of his soul, and that is a wonderous thing to be able to capture, for an artist or a listener.

Thom Yorke's stab at a solo record will probably appeal to Radiohead fans, but those that don't like his band shouldn't quickly dismiss Yorke's album: it lacks the (faux?)-grandiosity that turns some away from Radiohead records. "The Eraser" is surprisingly modest, a collection of bare electronica pieces about environment and coldness and Dr. David Kelly. "And It Rained All Night" could rake in converts, while those less-skeptical folks should be able to make an ecstastic forty-one minutes out of pieces like the darkly slinking "Black Swan" ("Cause this is f____d up/F____d up") or the one about Dr. David Kelly ("Harrowdown Hill"). There isn't enough to warrant four stars, but there's more than enough to defend this against those angry people ready to leap upon the record as mere trite Radiohead-lite.

I was immensely dissapointed with this album the first time I heard it. But I kept listening and one day it just clicked. First it was Harrowdown Hill...possibly the best song of the year in my opinion, then "And it rained all night" then slowly every song on this album became a masterpiece, there is a certain gradiousity in this albums simplicity. Seriously, If you like Kid A, Amnesiac, or Hail to the Theif...you will come around on this. One of the top 5 albums I've heard this year.