What’s striking about those tits is that they look perfectly natural. Having recently studied the history of modern porn from the first issue of Playboy to the present, I have concluded that tits have gone through three phases of development:
- The Natural Phase: Tits as determined by genes inherited from mom, dad or the mailman
- The Inflated Phase: Tits rounded out and inflated due to the extra shots of estrogen and progesterone in birth control pills
- The Bimbo Phase: Large and “perfectly” shaped tits fashioned by saline or silicone implants
I developed this taxonomy of tits after spending an afternoon with my hardcore lesbian cousin and her multi-gigabyte collection of adult female porn. Her collection is carefully curated and organized, so I asked her to organize her pics by date of publication so we could view changes in tit development over time. The chronology clearly shows that the natural tits of Betty Page and Marilyn Monroe started to give way to inflated tits in 1966, and other than the occasional sop to small-tit connoisseurs, hormone-enhanced tits dominated the pictorials from that point on. Fake tits entered the picture in the ’80s, but consistent “perfection” would elude plastic surgeons until the 21st century. It’s obvious when you look at some pornstars from the ’90s that their saline bags have gravitated towards the nipple, resulting in a look my cousin defined as “tit sausage (nichons de saucisse).” Recent porn is dominated by the bimbo look, marked by perfectly round, gigantic tits accompanied by fat-augmented lips that make women look more like circus clowns than sex kittens.
But I digress.
We agreed that natural and hormone-enhanced tits were the most pleasing to the eye, and that breast augmentation/reconstruction should be reserved for the unfortunate women who have had to undergo mastectomies. I don’t think our joint opinion will have any impact on the tit-building industry because modern cultures have made tits a commodity, and “bigger is better” dominates the field just like extra-large cokes and super-sized fries. The Mayo Clinic suggests that breast augmentation “might help you improve your self-confidence,” and when a respected institution like The Mayo Clinic argues that a purely cultural bias is a valid reason for a medical procedure, it should tell you that tits are an important revenue stream in the health care field.
The “self-confidence” selling point arises from two sources. It’s validating when a woman walks into a night club and causes heads to turn—and nothing draws a man’s attention as effectively as a respectable rack. But unbeknownst to most men, women pay just as much attention to racks as men do—and I’m not just talking about gay women. Women are always checking out each other to see how they “stack up” in comparison. Somehow, shelling out serious bucks to own a better rack than your girlfriend builds “self-confidence.” Natural tits have become passé in our totally fucked-up world.
Yes, but what the fuck does all this tit play have to do with Pixies?
Glad you asked! In preparation for this review, I listened to three commercially successful records from the ’80s:
- Songs from the Big Chair by Tears for Fears
- The Stone Roses
- So by Peter Gabriel
All these albums (and many more ’80s recordings) are marked by the sound of drums enhanced through gated reverb to give the music a more cinematic wide-field sound. It is one of the distinguishing features of ’80s music (along with cheesy-sounding synthesizers). Those horrid production values led me to define the ’80s as a decade largely marked by fake sound and fury, signifying nothing.
Huh. U2’s “I Still Haven’t Found What I’m Looking For” just popped into my head. I wonder why.
Anyway, when the Pixies opened their first full-length studio album with David Lovering and the sound of natural drums, it represented am emphatic rejection of the sleek and slick sounds of ’80’s music. Like the Punk Revolution, Pixies music represented a return to the rough-and-rowdy, bursting-with-energy essence of rock ‘n’ roll. Combined with Steve Albini’s raw production and the trademark soft-LOUD dynamics, the Pixies’ approach to music would have an enormous influence on a diverse group of musicians who would dominate the scene in the ’90s—Kurt Cobain, Billy Corgan, PJ Harvey, Radiohead, etc.
It should be noted that none of the four artists mentioned in the previous paragraph came close to duplicating the absurdist humor in Pixies songs (Cobain came the closest). At first listen, Black Francis’ songwriting style seems like undisciplined stream-of-consciousness, but it’s really more like the output of an accomplished improv actor: the words that come out of his head feel spontaneous but are nearly always tied to a palpable theme. He seems to start with a germ of an idea—a word, a location, an experience—and takes it wherever it leads him without allowing the censor to block the idea’s natural growth.
Opening with that thrilling sound of natural percussion, “Bone Machine” proceeds to give each member a turn in the spotlight, with Kim Deal hot on Lovering’s heels with a memorable bass run reflecting her preference for old strings that strips unwanted treble and brightness from the bottom. Joey Santiago enters with a decidedly nasty guitar riff over which we hear Black Francis shouting, “This is a song for Carol.” The structure and delivery of the song defy convention: the verses are narrated; the bridge features a melody that tracks the bass pattern as Francis and Kim sing in unison; what passes for a chorus is delivered in loose harmony and stop time. “It’s a song about fucking”, Kim Deal said in the documentary Pixies – On the Road, standing up to demonstrate the movement of a woman’s pelvis during a fuck (the bone machine is the “thing” that makes the pelvis go). Carol apparently has a bone machine working on overdrive and all she has to show for it is a case of herpes:
You’re into Japanese fast food
And I drop you off with your Japanese lover
And you’re going to the beach all day
You’re so pretty when you’re unfaithful to me
You so pretty when you’re unfaithful to me
You’re looking like
You’ve got some sun
Your blistered lips
Have got a kiss
They taste a bit like everyone
Uh-oh, uh-oh, uh-oh, uh-oh
Your bone’s got a little machine
The second verse represents a leap through memory association, harkening back to an incident involving a different bone machine, one belonging to a pedophile pastor:
I was talking to preachy-preach about kissy-kiss
He bought me a soda
He bought me a soda
He bought me a soda and he tried to molest me in the parking lot
Yep, yep yep yep
The concept of a “bone machine” highlights the disconnection between the sexual organs and the part of the brain that exercises judgment. Carol fucks like a rabbit, the narrator gets turned on by her unfaithfulness, the pastor can’t control his repressed libido. In the last verse, the cause of attraction is brown skin that we assume differs from the narrator’s, hinting at the age-old truth that forbidden fruit amplifies attraction because it is forbidden. Attraction is a complex, often mysterious dynamic, but if there’s a takeaway here, it’s something like “know who you’re fucking and why you’re fucking, or . . . uh-oh.”
Pixies are by definition mischievous, and Francis often likes to play the role of a loser, allowing the character to present their loser behavior with a minimum of judgment. Being true to the character makes the point far more effectively than giving us a sermon on the evils of whatever weird shit the loser comes up with. The character in “Break My Body” is an extreme self-destructive type, an honest-to-goodness masochist who repeatedly dares life to pile on the pain. This creature breaks down doors, (probably) fucks mom, and leaps from building to building just for the hell of it. The most controversial line is typically rendered as “I’m a belly dancer/I’ll shake forever and I’ll never care,” but what I hear (and validated by user Blue Grenade on Genius Lyrics) is “I’m a belly dancer/I’ll shake for Arabs and I’ll never care.” The latter makes more sense, especially if you avoid the mistake of viewing it through a post 9/11 lens (and yes, there are male belly dancers). My take is that the song is about how people revel in their own victimization, but as blog critic Gordon Hauptfleisch concluded, what really matters is “It has a good beat and you can run a record store to it.” Two minutes of percussion-driven overdrive, distorted guitar pushing the edges of dissonance, unrestrained vocals from Francis and Kim Deal . . . then the sudden switch to muffled guitar, the drums now front and center to support the vocal duet, then—drop-dead silence. While they certainly took an unusual build path to get there, that closing passage raises the tension to the nth degree like that moment in the horror flick when the idiot is about to open the door that no one in their right mind would open and then . . . tune in next week for the thrilling finale! Arrgh! Whether “Break My Body” is the prototypical Pixies song (as Mr. Hauptfleisch argued) is good fodder for a barroom debate, but I’ll say this: I can’t imagine any other band on the planet coming up with a song quite like it.
The Pixies were given ten days to record and wrap up the album, but they got down to business and pretty much finished Surfer Rosa in a week. That left them lots of time to mess around with “experimental stuff basically to kill time.” As true in music as it is in science, some experiments work and some don’t. For “Something Against You,” Albini ran Black Francis’ vocal through a guitar amp to achieve a “totally ragged, vicious texture.” I suppose some sort of backhanded congratulations are in order, for the vocal is certainly ragged, but a.) it’s impossible to make out the words because b.) the mix doesn’t separate the vocal enough from the already ragged background featuring a combination of detuned rhythm guitar and high-distortion lead/rhythm. The lyrics consist of one line repeated several times and a closing shot: “I’ve got something against you/Oh yeah, I am one happy prick,” a wonderfully economic statement on the human tendency to take pleasure from resentment. I just think it would have been better if Francis had shaped it into a haiku and delivered the vocal from some misty mountain top.
“Broken Face” is one of the more punk-oriented pieces on the album, burning hot, hard and fast as it rips through its tale of incest in about a minute-and-a-half. The narrator seems to be the defective result of a multi-generational orgy within the family (“There was this boy who had two children with his sisters/They were his daughters/They were his favorite lovers), and at first I thought Black Francis’ imitation of the disabled kid’s speech mannerisms was rather cruel. It took me a while to shift blame to the senseless idiots who sired the kid, and though I’m still not entirely comfortable with the piece, I love the ass-kicking noise of it all.
Kurt Cobain loved Pixies music and fully acknowledged their influence, but his admiration did not prevent him from lodging a complaint with management: “I wish Kim was allowed to write more songs for the Pixies because ‘Gigantic’ is the best Pixies song and Kim wrote it.” Well, no . . . not quite. Here’s the real story as related by Kim Deal’s then-husband John Murphy in Fool the World: The Oral History of a Band Called Pixies:
MURPHY: Charles [“Black Francis”] came up with the riff, but he wasn’t really sure what the lyrics were going to be, so he goes, “Eh, well, Kim, why don’t you take a shot at it? The only thing I know is that I want to call it ‘Gigantic’,” and she says, “Fine.” So she comes home with it and she’s playing it on the guitar and I said, “Gigantic, okay, maybe it’s about a big mall.” She goes, “Okay, let’s try that for a while,” and I’m like, “The mall, the mall, let’s have a ball.” So I wrote that. It changed to “Hey, Paul”, because it had to rhyme. And then, a couple of days later she had fixated on this Sissy Spacek movie Crimes of the Heart about this farmworker, I think he’s a black guy, and Sissy Spacek and this farmworker get together – so that’s what it’s about. An illicit love affair.
While Kurt didn’t have the whole backstory, I do agree with his sentiments, but I would have lodged a slightly different complaint—something like, “Hey, guys, are you trying to force Kim out of the band or what?” As things turned out, Kim’s presence on Pixies albums would never come close to her near omnipresence on Surfer Rosa, where she sang lead, harmony or unison on a majority of tracks. She would only get one half-credit for songwriting on Doolittle (“Silver”) and zero on the last two Pixies efforts. When the guys rejected her original compositions as “not Pixies songs,” she formed The Breeders, in turn reducing her commitment to Pixies, in turn leading to a lot of bad juju, yada, yada, yada.
There are different mixes of “Gigantic” (the Albini version on the album, the Gil Norton version on the single), so feel free to choose one that suits your tastes. For me, the mix doesn’t matter all that much, as what draws my attention and twiddles my diddle is Kim’s vocal. There’s a wickedness in her voice as she anticipates that “hunk of love” drilling into her sweet spot (“Hey Paul, hey Paul, hey Paul, let’s have a ball”); her voice shifts to unbridled ecstasy as he delivers the goods:
Gigantic, gigantic, gigantic
A big, big love
Though I think large dongs are highly overrated and I can’t stand chick flicks, “Gigantic” never fails to thrill me.
The flip side of the “Gigantic” single was “River Euphrates,” also remixed by Norton. While the lyrics are clearer and the sound cleaner on the single, I have a strong preference for the album version for two reasons: one, Joey Santiago’s introduction is deliciously dissonant on the album, and somewhat “straightened out” on the single; and two, the “ride, ride, ride” vocals on the album sound sweeter and more natural. You’ll notice that Kim has to catch her breath a couple of times within the phrase, something that technically qualifies as poor breath control but is oh-so human (go ahead and try to duplicate the vocal and home to appreciate its difficulty). I just love how Black Francis’ mind works: “Oh, I’m out of gas in the middle of the Gaza strip, but let’s just put that jack to work, grab a couple of tires and float down the Euphrates!” No obstacle is insurmountable for Charles Michael Kitteridge Thompson IV!
“Where Is My Mind?” builds on a question you commonly pose to yourself when you forget to . . . don’t recognize . . . fuck things up . . . have a brain fart. “Okay,” you say, “But what’s the song about?” Black Francis explained exactly how I would have explained it, so rather than plagiarize, I shall cite this quotation I found on Shmoop:
I can’t explain it to you; I just think the song is likable. Even though Kim barely sings on it, there’s something about her singing that little haunting two-note riff. The same thing with Joey, he’s got a little two-note thing going on too. It’s so simple, and then there’s me in the middle singing the wacky cute little lyrics. So it’s kind of a quintessential Pixie song. It sort of displays everyone’s personalities. The song has something very likable about it and I’m not sure what it is.
Certain songs just make you feel good. You can identify the components that contribute to the “feel good” vibe of “Where Is My Mind?” (major key, minor chords used to strengthen melodic flow before returning to an uplifting major chord to finish the phrase, sufficient variation without going overboard, nice swaying beat, the stick-in-your-head two-note patterns described above, the relaxed execution), but getting the right ingredients doesn’t always result in a dish that wows the dinner party. According to standard pop formulae, “Where Is My Mind?” shouldn’t make you feel good because the lyrical lines are imbalanced and there isn’t a single rhyme in the mix. I think the key here is in the magic of the four different musical personalities, each making a distinctive contribution to a satisfying whole. At their best, Pixies are just fucking fun to listen to.
We now return to the catalog of life’s losers, and the ultimate loser in any society usually winds up in prison sooner or later unless they’re white and have enough money to float bail and afford a crack legal team. We don’t know what he’s done to earn the time, but we find the loser in “Cactus” sitting on the cement floor of his not-so-cozy bungalow bemoaning separation from his squeeze. The strong, steady thumping beat and dark minor-key guitar distortion form a background that reflects a feverish obsession, and in a voice that sounds like the whimper of a man breaking down from the experience of enforced isolation, Black Francis informs us that our anti-hero’s obsession has to do with a specific piece of apparel:
Sitting here wishing on a cement floor
Just wishing that I had just something you wore
I’d put it on when I go lonely
Will you take off your dress and send it to me?
The italics (mine) serve to identify Kim’s flashes of vocal harmony that appear in the closing words to each verse, one of those little touches in a song that make all the difference in the world (enter “Count Basie Theory” in the site search box for more information). The expressed desire to wear her dress (rather than stuff it under his pillow for a comforting beddie-bye scent) gives me the impression that the man may have been tagged to serve as the female partner in one of those prison shower romances, and Kim’s spot vocal tacked onto the narration reinforces that impression. It’s obvious that the guy is desperately trying to hold onto his heterosexuality (“I miss your kissin’ and I miss your head”) but the paranoia induced by isolation consistently leads him to worst-case-scenario thinking (“And a letter in your writing doesn’t mean you’re not dead”). The last request to his long-lost love can be interpreted as the ravings of a sicko, a plea for proof that she is still among the living or the cry of an overwrought man with an unfathomable desire to experience intimacy at the cellular level:
Bloody your hands on a cactus tree
Wipe it on your dress and send it to me
While “Cactus” lacks a proper chorus, the verses are the most conventionally-structured poetry on Surfer Rosa, with an AABB rhyme scheme. While I think that sop to tradition makes the song more accessible, our anti-hero is unlikely to evoke much sympathy from lock-’em-up Americans. Here’s a tip for those of you who have an empathy deficit: on your next vacation, head to the great city of Philadelphia, skip the Independence Hall hoo-hah and drop by the Eastern State Penitentiary. Look long and hard at the prison cells, and try to remind yourself of Phil Ochs’ admonition: “There but for fortune go you or I.”
We move on to the much lighter “Tony’s Theme,” marked by Kim Deal’s loaded-with-naive-high-schoolish-enthusiasm vocal intro and don’t-fuck-with-me lead guitar from Joey Santiago. Tony is the master of bicycling, racing and popping wheelies; the card in his spokes identifies Tony as a future wannabe Harley owner. Beneath the daredevil façade, he’s a good boy who always remembers to mow the lawn after school, a tidbit that seriously diminishes his hero status. It’s followed by the title track that is not a title track but does contain the only reference to Surfer Rosa: the Spanish-language bash, “Oh My Golly.” Opening with David Lovering’s emphatic attack on the toms (natural, of course), the song forms a celebration of a whirlwind Caribbean romance where the narrator and Surfer Rosa make out and get drunk (besando, chichando) under the Caribbean moon. The heart-thumping nature of the erotic experience is accentuated by high speed and truncated measures that intensify the out-of-control passion incited by Surfer Rosa (see tit pic above).
“Vamos” is a different take of a song that appeared on Come On Pilgrim, featuring an opening verse in Spanish where the narrator is considering the option of moving in with his sister in New Jersey, who has told him about the great life in the upscale burbs (very rich, very cool)—the East Coast preppy version of the American Dream:
We’ll keep well-bred
We’ll stay well-fed
We’ll have our sons
They will be all well hung
They’ll come and play
Their friends will say
“Your daddy’s rich
Your mamma’s a pretty thing”
The lines can also be interpreted through the lens of incest, but I think it’s equally plausible to interpret the “in-breeding” hinted at here as something involving social class and not brother and sister (old money and the trophy wife). That interpretation is reinforced by the man’s classic fascination with the hot Spanish maid, the upper-class fantasy extraordinaire. The sister’s expressed frustration that “I keep getting friends/Looking like lesbians” tells us that her enclave may be too preppy for their tastes and that they might have more luck in the less rigid but still superficial upper-class life in California. Lots of drive, noise and exuberance in this piece, with Joey Santiago’s random guitar attacks standing out.
“I’m Amazed” begins with Kim Deal telling her mates a real-life story about how a coach with a thing for field hockey players mysteriously disappeared from campus. That kind of story would draw a lot more publicity today, and somewhere in the coverage, someone who knew the pervert would shake their head and say, “I’m amazed.” Oh, bullshit. You knew something was going on and chose to ignore it. The same is true of the three incidents mentioned in the song proper—all create some form of “amazement,” but none are really all that amazing except to those who have their heads up their asses. The fascinating aspect of the music comes from the Francis-Deal vocal duet that falls somewhere between call-and-response and a half-hearted attempt at a round—chaotic and very effective.
Surfer Rosa closes hot with the blues-tinged raucousness of “Brick Is Red.” The duet that stands out here is the interplay between Santiago and Lovering in the extended intro where both men are ripping and bashing like there’s no tomorrow. The vocal duet featuring Francis and Deal ain’t half bad either, with Kim randomizing her harmonic splashes to arbitrarily highlight words and phrases that may or may not have significant meaning. Though the poetry may not make “sense,” the image of eyes turning the color of diamond—“just the color,” “the frayed color of ice”—forms a picture that is both alluring and repulsive.
What struck me most when re-engaging with Surfer Rosa is how fresh it sounds thirty-two years after its release. The feeling of spontaneity, the direct and indirect humor, the sheer excitement of the musicians as they create a novel approach to rock music—all these come through soft, LOUD and clear. It’s one of those rare albums that expand the listener’s perspective without crossing the line into pretension, and even with its occasional forays into the so-called dark aspects of the human personality, Surfer Rosa leaves you with the feeling that you’ve just had one helluva good time.
If you’re not in the mood for melancholy, you may want to skip A Moon Shaped Pool.
Themes include societal repression, failed idealism, dread, separation, regret, panic, emptiness, global warming, love in vain, abandonment and, above all, various manifestations of loss. It also features Radiohead’s saddest song, as determined by a data scientist whose findings were published in NME. No doubt troubled by the end of his 23-year relationship with life-partner Rachel Owen, Thom Yorke delivers his vocals in a somewhat detached and comparatively subdued manner. As Mike Diver pointed out in his review of the album on The Quietus, the album clearly lacks “something to grab hold of that has that same roughness, that singular feel, of this band at its best.” Electric guitar takes more than a back seat—it’s stuck way up in the balcony, replaced by Jonny Greenwood’s orchestral arrangements. While The King of Limbs was relatively low-burner in comparison to In Rainbows, Radiohead shuts the burner off entirely on A Moon Shaped Pool, leaving what Diver called “barely glowing embers.”
It’s also harder to listen to A Moon Shaped Pool today than it was at the time of its release. Unintentionally, A Moon Shaped Pool reflects the generally down mood felt today by people all over the world as they see hatred on the rise and any past progress in the direction of greater world unity obliterated in an atmosphere of distrust, paranoia and sickening greed. Since November 8, 2016, there hasn’t been a single day when I haven’t felt a sinking feeling that something is terribly and possibly irreversibly wrong with the world, and I ache for music that is uplifting, energetic and confident about the future. When I reach for my headphones, I want a break from Trump, Brexit, the Front National and all the awful shit I read in the news today. A Moon Shaped Pool is not the place to go if you’re seeking temporary relief from worldwide insanity.
Still, it wouldn’t be fair to judge A Moon Shaped Pool based on its accidental proximity to an era of human madness, and the album has much to recommend it. First and foremost to my ears, the melodies are exceptionally strong throughout and stick in your head for days, weeks, months. While many of the songs are sad, those sad songs are particularly beautiful and emotive. Jonny Greenwood’s orchestral and vocal arrangements are superb (and if you really want to hear Jonny at his best, listen to the soundtrack of Phantom Thread and skip the movie). In the context of the entire catalogue, A Moon Shaped Pool is clearly unique, but hardly surprising: Radiohead simply had to produce a more orchestrally-oriented album someday, given their musical aspirations and Jonny’s exceptional talent.
So, while I think Mr. Diver makes some fair points in his less-than-positive review, it’s pretty obvious that his expectations interfered with the evaluation. This is a common and very human error in criticism, and particularly dangerous when it comes to Radiohead, a band with a wide playing field and a long track record of defying expectations. Nobody expected OK Computer, and nobody expected they would completely abandon the guitar-heavy emphasis on that extraordinarily popular album in favor of the electronic instrumentation that dominates Kid A. After the more introverted The King of Limbs, I’m sure that most people thought that Radiohead would kick some ass on the next album; instead, A Moon Shaped Pool doubles down on the introversion, creating a mournful yet often beautiful series of introspective soundscapes. While not immune to commercial considerations, Radiohead is more willing than most artists to abandon formulas and follow their artistic instincts. Radiohead albums nearly always reflect what is happening with the band members in the present tense, when new and old songs yet to find a home meld together around an organizing principle or theme. At this moment in time, Thom Yorke was reflecting on loss and change while Jonny Greenwood was blossoming into a terrific composer and arranger. A Moon Shaped Pool is an album that manages to resolve the opposing forces of retreat and growth, resulting in a work that may not be for everyone or for every mood but deals with very real and essential aspects of the human experience.
And yeah, sometimes it sucks being human.
The album opens with Jonny Greenwood front-and-center with the attention-grabbing string arrangement that introduces “Burn the Witch.” The technique used for the violins has been inaccurately labeled col legno, where the violinists strike the strings with the stick on the bow; instead, Jonny gets even greater intensity by having the players use guitar picks. The deep growl that provides the bottom for the arrangement provides ominous, contrasting color to the bright tone of the violins, a mood further intensified by the dark opening verse:
Stay in the shadows
Cheer at the gallows
This is a round-up
This is a low-flying panic attack
Sing a song on the jukebox that goes
Burn the witch
Burn the witch
We know where you live
Societies have created witches and heretics for centuries as a means of oppressing those who think different, look different or happen to be saddled with vaginas. Accusations of witchcraft have proven to be effective tools for the elites to redirect the frustration of the lower classes away from them and towards those who dare to be different. The consensus view is that the “witches” in this song are the Muslim immigrants who fled their war-torn homes for the alleged safety of the territories in the European Union; the historical effectiveness of the demonization strategy manifested itself in Brexit and the election of Trump (but thankfully came up a cropper in France). The music dominating the intro and the first verse reflect this boiling, burning tension. Just before the second verse, the higher strings shift to a descending legato, more important for the descent than the continuity associated with that musical form. In that second verse we see humanity descending into fearful isolation, secretly ashamed of their enabling behaviors but lacking the guts to do anything to defend the demonized, instead treating information that contradicts the rationale for hatred as “fake news”:
Red crosses on wooden doors
And if you float you burn
Loose talk around tables
Abandon all reason
Avoid all eye contact
Do not react
Shoot the messengers
This is a low flying panic attack
Thom Yorke’s understated vocal works exceptionally well in this piece, achieving a sotto voce effect that simultaneously draws our attention to his voice while reflecting the near-whispers that comprise conversation in a paranoid society. The terrifying ending is achieved through a combination of increased intensity from the strings, dissonant figures in the background and the bottom literally dropping out until the sudden demise. “Burn the Witch” is a marvelously structured piece, and while it serves as a reminder that we’re in the fight of our lives against fear and ignorance, it’s a problem that humanity has had to deal with for centuries . . . and perhaps this too shall pass . . . or maybe not.
The “maybe not” caution comes from the first verse of “Daydreamers,” reminding us that the endless pursuit of perfection that is part of the human psyche can also be a psychological trap.
They never learn
They never learn
Beyond, beyond the point
Of no return
Of no return
And it’s too late
The damage is done
The damage is done
”I fear those big words,” Stephen answers, ”which make us so unhappy.” That line spoken by Stephen Dedalus in Ulysses illuminates the downside of the pursuit of perfection: it is unachievable, and the failure to achieve it frustrates and damages the spirit. Ironically, religions have found a more practical way of dealing with the urge: perfection will never happen here, but in the hereafter. Total bullshit, of course, but such a notion has allowed many stupid people to feel comfortable with existence while absolving themselves of any responsibility to their fellow human beings in the here-and-now.
Emerging from a warped tape that transitions to the sound of soft chimes, the music of “Daydreaming” is based on a simple piano three-note pattern in waltz time. Thom Yorke’s voice is attenuated to express the fragile nature of human striving and the inevitable search for some sense of security in an insecure world, often found through the higher urge to serve others—an urge that can manifest itself as either sincere devotion or crass submission:
The white room
By a window
Where the sun comes
Just happy to serve
Just happy to serve
It has been suggested that the white room by the window could be a reference to a hospital room, possibly the room where Rachel Owen recovered from cancer treatments during the period when A Moon Shaped Pool was recorded. It’s possible, but the talent of any poet or author lies in the ability to turn a personal experience into a universal experience the rest of us can appreciate. What I get from this verse is a series of gestalts: vulnerability, life beyond the day-to-day, essence. Thom Yorke’s faint, fragmented background vocals add to the sense of fragility—the fragility of the quest for perfection, the fragility of life itself.
The music that follows the verse is a wondrous melange that carries forward the vocal fragments and blends them with other vocal layers to create a choral effect, mixing those voices with ambient electronic and orchestral effects and detuned cellos. Oliver Coats’ sudden, swooping cello figures dominate the second half of the passage . . . a sound that feels like . . . uncertainty . . . a combination of strength and tentativeness . . . Sisyphus and the boulder . . . It’s a fantastic, rich sound, and “Daydreaming” is a fantastic piece of work.
From a lyrical standpoint, “Decks Dark” is much more elusive, highly symbolic, or simply insane—take your pick. “And in your life there comes a darkness/There’s a spacecraft blocking out the sky.” I’ve had a lot of weird shit happen to me but a spacecraft has yet to darken my day. Perhaps the song is about people obsessed with conspiracy theories or with evil aliens; most likely it’s metaphoric for the strange but general anxiety that exists in the wealthier countries on the planet. Though I have no idea what the hell Thom is talking about, the music is fantastic, combining a highly active melody with exceptionally strong rhythms and as diverse and complementary a set of fills you’ll find in any Radiohead song. Sometimes there are dueling pianos in opposite channels, one reflecting the melody, the other tinkling at a high pitch and speed, contradicting the more soothing runs on the other channel. Ambient choral sounds add to the other-worldliness of the piece, while the fade is a seriously sexy set of vocal, piano and guitar riffs that lighten the overall darkness.
Songfacts has a brief entry on “Desert Island Disk” where they make a completely unfounded and highly misleading conclusion: “The song finds Thom Yorke reflecting on his break-up from Rachel Owen. Now the couple are going their separate ways, the Radiohead frontman feels ‘totally released’ as he can now love Rachel with a different type of love.”
The link above does not take you to the source for the interpretation, as one might assume, but sends you instead to the Daily Mail (!) story of their break-up. There you can find Thom’s brief, fuck you, stay-out-of-my-private-life press release: “After 23 highly creative and happy years, for various reasons we have gone our separate ways. It’s perfectly amicable.” Hmm. Why would Thom feel “totally released” after twenty-three HAPPY YEARS? If those years were indeed happy, why would he sing, “Waking, waking up from shutdown/From a thousand years of sleep?” I realize Thom Yorke tends to the morose with greater frequency than your average bloke, but are you actually trying to tell me he’s chosen to seek a relationship more on the miserable side? Shame on Songfacts for spreading rock-star gossip instead of providing song FACTS.
In truth, people can actually grow, change and have major life breakthroughs within a relationship, and the lyrics are much more supportive of that possibility. Healthy relationships leave room for spaces, where each party allows the other to get away for a while to recalibrate and rebalance. Those separations may lead to a reconfiguration of the existing arrangement or it may lead to even greater closeness. What I read in the lyrics is the story of a person who simply has to split for a few days or weeks, does so, has a few revelations about self-and-other and returns embracing new possibilities within the relationship:
Waking, waking up from shutdown
From a thousand years of sleep
Yeah you, you know what I mean
You know what I mean
You know what I mean
Standing on the edge of you
You know what I mean
You know what I mean
You know what I mean
Different types of love
Different types of love
Different types of love
It sounds to me like the narrator flew the coop believing “you’ll never understand me” and arrives at the revelation that the other understands them perfectly. If that results in a “different kind of love,” so be it. Maybe it’s about Thom and Rachel, maybe not— but you’re going to get a lot more out of the lyrics if you relate the experience TO YOURSELF AND NOT YOUR FAVORITE ROCK IDOL. “Desert Island Disk” is also a mesmerizing, sweet-flowing song built around Spanish guitar tropes with gentle ambient sounds sweeping through the left channel. After a few guitar-synth teases from the right channel, the song goes full stereo at the revelatory moment (“You know what I mean”), fading to Thom-only on guitar and verse until the final repetitions of “are possible,” when the left channel ambience gently returns. Just enough, not too much—my Count Basie Theory lives on—in a Radiohead song, of all places.
The first half of “Ful Stop” is like . . . well, imagine two trains running on parallel tracks. The first train is driven by an electronic beat-bass synth combination that mimics a chugging train and eventually forms the foundation for the vocal; the second train is a mix of what sounds like flugelhorns and phased guitars organized around a musical theme that contradicts the melody we hear from train #1. Oh no! The tracks are merging up ahead! The trains are going to collide! [Screams!] [Close up of panicked faces.][Man with a mustache desperately reaches for the emergency cord, has a heart attack and croaks.] and then . . . NOTHING HAPPENS. Just like in a Monty Python skit! The molecules of the trains have magically merged together on contact! At the quantum level! Just like in Star Trek! Wow! This sounds fucking great!
Too bad about the dead guy.
The second half of “Ful Stop” is a rhythmic delight, featuring a persistent pulsating beat accented by (yay!) layers of electric guitar counterpoint and Thom’s myriad vocal contributions. Even when they take it down a notch, the pulse remains strong, guiding us through the final build and fade. The lyrics are a pretty straightforward accounting of those grungy moments when you’ve said or done something stupid that has put your relationship at risk. Your partner has made it clear that the conversation is over and all you have left is the “but, but, but” of a side of the story destined to remain unheard for all eternity. The mood you’re in after your failure is the music you hear in “Ful Stop”: agitated, grumbling, helpless, lost, hopelessly defensive.
This is a good time to introduce one of the more curious aspects of A Moon Shaped Pool: the tracks are arranged in alphabetical order. According to a Reddit post, Jonny Greenwood allegedly attributed this phenomenon to “too many arguments over what should go where,” adding “and when it was in alphabetical order it just worked fine.” Given Radiohead’s penchant for intense debate, the explanation rings true, though I find it incredible luck that “Burn the Witch” is a killer opener and “True Love Waits” the ultimate closing track. I find the story even more incredible when considering the juxtaposition of “Ful Stop” and “Glass Eyes,” which to my ears form a cohesive narrative. In “Ful Stop,” our hero is immersed in internal dialogue oscillating between blaming other and blaming self; in “Glass Eyes,” he gets off the train (literally) and makes an awkward move in the direction of reconciliation, largely by ignoring the original conflict:
Hey it’s me
I just got off the train
A frightening place
Their faces are concrete grey
And I’m wondering, should I turn around?
Buy another ticket
Panic is coming on strong
So cold, from the inside out
No great job, no message coming in
And you’re so small
Glassy eyed light of day
Glassy eyed light of day
He abandons the conversation for a stroll through nature, but this side trip without direction doesn’t amount to much. The music supporting this sad story is a lovely arrangement of gentle romantic strings, an occasional drone from bass or detuned cello and warm patterns of keyboard and synth. The shortest song on the album, “Glass Eyes” is an incredibly beautiful piece, a subtle yet impactful demonstration of Jonny Greenwood’s gift for arrangement.
“Identikit” begins with distant vocals that will soon compete with the main vocal line for the listener’s attention, and while that may sound like musical chaos, it actually works well with the concept of an identikit: a face of a suspect constructed from the differing perceptions of the purported witnesses. The electronic beats have a pleasant Latin flavor and I find the unusual mix rather intriguing. Unfortunately, Radiohead shifts to what sounds like another song entirely, a song based on one line repeated seventeen-and-one-half times (“Broken hearts make it rain”), delivered in the second go-round by a choir in a performance that defines the word “overdramatic.” By the time they return to the original theme, they’ve lost me entirely. “I have no idea what it means, or what it’s about, or anything like that,” said Thom Yorke about “Identikit,” and honey, that makes two of us.
I’m even less fond of “The Numbers,” a global warming protest song saddled with weighty instrumentation far beyond its inherent capabilities. This is the one song where I think Jonny’s arrangement qualifies as a poor fit, but I don’t think the song works as an acoustic number either, as demonstrated by Thom’s performance of what was then called “Silent Spring” at Le Trianon in Paris. The best protest songs avoid excessive abstraction and keep symbols and metaphors fairly simple, and I guarantee that if you played this song for a random sample of people and asked them what it was about, I don’t think “global warming” would be the first words out of their mouths.
Things get back on track with the bossa nova “Present Tense” and its superb use of background vocal loops that support rather than compete with the primary vocal. The guitar duet with Thom and Johnny is a magical display of finger picking and tight rhythm; the high-pitched background vocals that enter the soundscape just before the melodic shift of “In you I’m lost” blend beautifully with the supporting ambient music. The arrangement is rich without becoming too busy, and there are dozens of tiny moments that spark delight. The song is a melancholy account of how we get locked in a pattern of self-defense about past slights that have nothing to do with the here-and-now, a pattern that invokes the terror of losing a relationship that has become essential to our sense of identity:
As my world
Comes crashing down
Deaf, dumb, and blind
In you I’m lost
In you I’m lost
I won’t turn around when the penny drops
I won’t stop now
I won’t slack off
Or all this love
Will be in vain
On an album with more than its fair share of beautiful songs, “Present Tense” is an exceptionally moving and memorable piece, even when heard in a cleaner, guitar-dominated arrangement, as demonstrated in the video below:
“Tinker Tailor Soldier Rich Man Poor Man Beggar Man Thief” has more to do with the children’s counting game than with the shorter-titled film, though no one gets tagged as “it.” The lyrics seem to describe a seduction, but the ponderous music portends a really slow, boring fuck by a guy who has had way too much weed to do much of interest. The best part of the piece is clearly Jonny Greenwood’s cinematic string arrangement, and I’d much rather see that movie than listen to this song again.
A Moon Shaped Pool ends with another song that waited a long time to come to fruition (twenty-one years, no less), the heart-ripping “True Love Waits.” The original 1995 version is dominated by guitar strummed at high speed, slowed by long gaps between chord changes and the underlying rhythm. Here the guitar is a distant memory, replaced by a dominant four-note motif on piano that is eventually supported by multiple pianos riffing off the main theme, creating a polyrhythmic fragility that accentuates the fragility expressed in the lyrics. I find it fascinating that after twenty-one years the lyrics hadn’t changed at all except for the flip of the second and third verses. That tells me that Thom Yorke knew he had captured something essential and timeless about human nature and was therefore willing to wait as long as it took to find the right arrangement.
Simply put, “True Love Waits” deals with the human dread of loneliness. What separates it from the thousands of other “don’t leave me” songs are the vignettes he uses to demonstrate the soul-twisting power of that fear. In the first verse, we find a woman willing to sacrifice beliefs and body and trade her adulthood for child-like devotion, all to avoid abandonment:
I’ll drown my beliefs
To have your babies
I’ll dress like your niece
And wash your swollen feet
Just don’t leave
The second vignette could describe one of two situations: the male perspective on the relationship described in vignette #1 or a different relationship of convenience, where the man settles for a woman who transforms herself into a kitten, playing to the libido while failing to engage the soul:
I’m not living
I’m just killing time
Your tiny hands
Your crazy kitten smile
Just don’t leave
We’ve now had two tales of adults locked in self-and-other denial in their quest for what can only create a superficial sense of security—the mere presence of another human being. Both situations demonstrate how the fear of abandonment can twist our personalities and turn us into practitioners of deceit. The last tale takes abandonment to another level, where parents abandon a child. Thom Yorke had read a news story about parents who had left their kid alone for days; the kid managed to survive the physiological aspects of abandonment by filling himself with junk food. That junk food was as empty as the experiences described in the first two vignettes—we can never nourish the soul by engaging in relationships built on pretense and insecurity. The child’s needs, however, are less complex and more innocent:
And true love waits
In haunted attics
And true love lives
On lollipops and crisps
Just don’t leave
Oh, how that last verse breaks my heart. Children come into the world trusting that mother and father will care for them, provide for their needs and teach them things they need to know. I don’t know how any parent can abandon a child, forget about a child, or traumatize a child, and this round of “Just don’t leave/Don’t leave” hits me in the gut every time I hear it. It is the sound of shattering the most essential bond of life, the bond between parent and child . . . there simply are no words for the anguish I feel when I listen to this terribly beautiful song.
By all accounts, the recording of A Moon Shaped Pool was an arduous process. The band wasn’t sure they were ready to record or what they wanted to record, and while Thom Yorke was dealing with his loss, producer Nigel Godrich lost his father. There were no rehearsals, and progress was made in “fits and starts.” Radiohead did not tour immediately after the release, and no one in the band had much to say about it. Some time later, Ed O’Brien told the NME, “We weren’t in a position to really talk about it when it came out. We didn’t want to talk about it being quite hard to make. We were quite fragile, and we needed to find our feet.” He went on to add: “I don’t want to talk about it anymore, if that’s all right. I feel like the dust hasn’t settled. It was a hard time.”
There are as many tales of awful recording experiences that produced masterpieces as there are of pleasant recording sessions that resulted in garbage. A Moon Shaped Pool is as difficult for the listener as it was for those who created it, but difficulty is a removable obstacle. Radiohead obviously overcame the challenges of A Moon Shaped Pool through dedication and professionalism, and listeners can overcome the natural tendency to avoid unpleasantness and use the opportunity provided by A Moon Shaped Pool to expand heart and soul to encompass aspects of human experience that are often trivialized by daily existence.
Truth, after all, is beauty, no matter how painful, no matter how frightening, no matter how real.