SOUND BITES

(NOTE: This is not a review of the original 1997 release of OK Computer . That is one of my all time favourite albums, a stone cold classic, and nothing this reissue could do was going to change my feelings on the main album. Under review here is only the bonus material included with the reissue. Those who simply cannot go forth without knowing my feelings on the original release of OK Computer can catch up right here .) The crossroads Radiohead found themselves at in the wake of The Bends ' success is well documented; after touring heavily (including some well attended North American dates opening for Alanis Morissette) in support of that album, the group were poised for superstardom; all they had to do was build on the momentum, bang out a hit single or two, and that would be enough to make them household names. They'd done well with The Bends  though and, as such, were given free reign to make their next move however they liked. Well, anyone with even a passing famili...

(DISCLAIMER: The intent of this article is not to belittle the art of the double album, nor is the point to diminish the worth of the albums featured below. My goal is not to "fix" these albums, and I support the artists' decisions when it comes to how they present their art. Just so we're clear.) The double album: a career move meant to distinguish a batch of songs as something special. An artistic vision that simply can't be confined by standard definitions or time constraints. Many of our greatest musical landmarks run outside of the accepted parameters of what an album should be. Sometimes it's a grand statement, a series of musical moments strung together into something magical and cinematic. Other times, it's a way to express disparate emotions, a way to segregate when an artist is going for two distinct approaches at the same time. Sometimes it's simply a case of a creative outburst that grew too fast and too wild. Far be it for me t...

It may seem a little crass to sum up such a nuanced, complex piece of art in a short paragraph, but chances are good that if you're reading this you pretty much know what you're getting from Radiohead by this point. The big takeaway from A Moon Shaped Pool is its orchestration; Jonny Greenwood's recent scoring work carries over to this record, infusing a massive, cinematic scope to the songs that's only been present intermittently previously. This may mean less rock, but the flow of the album makes for a chill, often emotional listening experience that doesn't need high tempos or guitars to get the job done. Considering many of the songs here have been circulating on live bootlegs for years, the album holds together surprisingly well as a whole. It's a lush, vibrant album with a high replay value and higher dividends with each listen. Not only is it worth the wait and makes up for the cold and listless King of Limbs , it's the most substantial artistic st...

8  GREAT If the first official taste of Radiohead's imminent ninth album is any indication, we're in for a more orchestral take on their hallmark sound. Burn the Witch isn't necessarily a rousing single, but its theatrical and sinister sonic backdrop most certainly make it an interesting listen (especially after several listens reveal more and more tension and nuance); and, coming five years after the rather dull and coolly received The King of Limbs , it definitely does its part to sate the hunger of rabid fans, who have grown delirious with anticipation for whatever is coming next.

EXPLORING A FEW OF ROCK'S GREATEST CONSPIRACY THEORIES. In honour of the return of The X-Files (one of my all-time favourite shows, and source of the rock-referencing pic above), I figured this would be a good time to talk about a side of music that doesn't get a lot of attention but has provided plenty of intrigue among dedicated fans.  What follows is a list of some of my favourite "rock n' roll X-Files"; intentional or coincidental, these musical mysteries all lend themselves to a fair amount of credibility, but have proven impossible to outright confirm. Whether you want to believe or prefer to only deal with facts, there's no denying that these wild theories are at least a little plausible.

One of the year's most anticipated releases has to be the upcoming third album from New Yorker art-rockers Vampire Weekend. Their light, unassuming style of indie rock has endeared them to bloggers and TV ad execs alike; their sophomore album, 2010's Contra, actually debuted at #1 on the Billboard charts upon release (not a smash hit as it was released on a quiet January Tuesday, but a #1 nonetheless). Now, as we near the third album's spring release, a few buzzwords are being thrown around in relation to it. Darker. Organic. Nocturnal. Whether this bodes well for the sound of the record is to be determined, but it got me thinking. Throughout modern history, bands have often made bold moves, twists in their artistic story arc that have polarized fans, critics and label heads. For many bands, this act of commercial defiance happens at a certain specific point in their careers. The "difficult" third album.

Ah, the double album. The ultimate artistic statement. When your vision absolutely, positively cannot be confined to the restraints of a single platter. Over the years, we've seen countless artists try to tiptoe down this slippery slope, and only a few have made it to the bottom without grass stains on the ass of their jeans. The double album's meaning has been warped and twisted so many times in the last half century that it's often confusing when trying to determine what counts as a double album or not. When the compact disc raised the maximum length on one disc, many double albums technically became single albums; likewise, many single albums recorded since are so long that they would have undoubtedly been doubles in the original vinyl age. With the albums on this list, though, it's not necessary to bicker over the rules. These albums aren't like the others.

Last weekend, we celebrated the birthday of a certain under-appreciated rock masterpiece and looked back fondly of the days of artistic risks and non-compliance. Perhaps even more so than Faith No More, Radiohead built their career on bold moves and refusal to pander to closed-minded fans.  And, just as Faith No More kickstarted an era of difficulty with Angel Dust , Radiohead fired the salvo that defined the rest of their risky career with OK Computer .

From nearly all accounts, the newly released Van Halen album A Different Kind of Truth is good.  And not just "it's cool I guess" good.  We're talking "holy shit they're BACK" good.  And it's not just David Lee Roth fanboys who are blown away; according to metacritic.com, which issues scores out of 100 to albums based on average critical review scores, the album is currently sitting at 75 (an average of, say, 3 out of 4 stars).  A score of 60 or higher generally reflects positive reviews.  So, yeah, it looks like Van Halen have returned to form; and not just barely, but in spectacular fashion. But you wouldn't know that from the album's first single.

RADIOHEAD Lotus Flower From: The King of Limbs Released: February 18 Slight .  That's the word that comes to mind when I think about The King of Limbs , Radiohead's eighth studio album.  Rush released online on a dreary February Friday (only four days after they'd announced its existence), it seemed like such a letdown after the years of speculation and anticipation that followed In Rainbows , a record which I had decreed upon its release Radiohead's most shocking due to its "play it safe" mentality.  Of all the bands in the world, the one that's most thrilling when it thinks outside the box is Radiohead, and hearing them whip out a batch of tuneful yet unobtrusive songs was a little unsettling to the musical maverick in me.  So, at a glance, The King of Limbs should have been a glorious return to form, the band's defiant pushback at normalcy.  However, after giving the album a few listens, it all felt so... slight .

So, it's Halloween, and with it come all the costumes, the trick-or-treating, the "scariness".  It's a payday like no other for candy manufacturers and egg farmers, and we all love it.  How can you diss a holiday that's all about gorging yourself on sweets, dressing up like your wildest fantasy and being a total creep?  It's a day during which you're actually encouraged to scare people; try it on May 12 and you're meeting Mr. Pepper Spray; tonight, you get laughs.  Fantastic. I thought it only appropos to post up a handful of the creepiest songs and/or videos known to man (well, to me) and do my best to send shivers up your spine using only the power of music and the suggestion that you play these songs while thinking about the truly depraved amongst us; the living demons with devious intentions, sitting in the bushes across the street and watching you through binoculars as you're reading this RIGHT NOW.

All method, no madness.