Thom Yorke has almost everything done. Its first interpretations quasi-grunge with Radiohead in the mid-1990s, up to its disposal more concrete in the classic for a few years. The singer was Sunday 7 and Monday 8 April the guest of the Minimalist Dream House , a concert in the form of ode to the minimalist music, organized by the pianists Katia and Marielle Labèque at the Philharmonie de Paris. The program, tributes to the pioneers of the genre, John Cage, Philip Glass, passing by Erik Satie.

Specially for his participation in the concert, Thom Yorke wrote for the two sisters Labèque a classic piece in three movements, titled Don t Fear The Light . Entirely instrumental, the song was performed for the first time in public at the concert. This is the first foray official of the composer in the classic.

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Thom Yorke there is, however, not its first shot in minimalist music and classical. With his cult band Radiohead, he very early showed signs of interest for instruments clean and sensitive, leaving the guitars and violent from its beginnings. After two albums resolutely rock ( Pablo Honey in 1993 and The Bends in 1995), the group unveils the mythical OK Computer in 1997. It is found regularly in the lead of polls seeking to determine the best album of the decade of the 1990s.

land experimental

With OK Computer , the group seeks to find new recipes melodic, keeping the guitars as support and not as the actual foundation of melodic. The next two albums ( Kid A 2000 and Amnesiac in 2001) marked the real break between the “old” and “new” Radiohead. On many songs, the guitars disappear completely. The group gives more room for melodies, dissonant, regularly performed at the piano, the violins, or with the help of other classical instruments. In 2006, Thom Yorke has stated that the song How To Disappear Completely , from Kid A , is the best of the group.

It was also in 2006 that Thom Yorke made his first solo album, after the release in 2003 of Hail To The Thief , an album of Radiohead, which marked a return to a rock classic. On The Eraser , the singer pushes the experiments with electronic, getting rid of the acoustic instruments. The beginning of a period more minimal, which continues in 2007 with In Rainbows , acclaimed new album of Radiohead, backed by guitars airline and rhythmic raw appliances.

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The following albums, The King of Limbs Radiohead Tomorrow’s Modern Boxes of Thom Yorke, meet a host more mixed. The singer and the group grow in the purification of electro further. On his second solo album, the singer leaves yet point to a return of the piano as the melodic instrument of choice. A return realised on A Moon Shaped Pool , the latest album of Radiohead, whose pianos ethereal underscore the melodies to be addressed.

To a classic, more pronounced.

Thom Yorke is not the only member of Radiohead to borrow on its side, the path of the classic. Jonny Greenwood, guitarist of the group, is as well noted for the soundtracks he writes regularly for the films of Paul Thomas Anderson. In particular, There Will Be Blood in 2007, a compilation of songs to the limit of the classical avant-garde, and Phantom Thread by 2017, influenced by the classic bedroom.

It is also film music that Thom Yorke has the most approached classical music. In 2018, he composed the soundtrack for the remake of Suspiria by Luca Guadagnino. The voice of the singer came back to haunt arcs instrumental dissonant and heady, in agreement with the atmosphere of sordid film. On the stage of the Philharmonic, Thom Yorke has also interpreted Suspirium , song end of the original tape.

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As if to indicate his membership of the minimalist movement, the singer took advantage of the Minimalist Dream House to unveil a brand new song, titled Gawpers . The pianos of the sisters Labèque are interwoven to form a carpet that is irregular for the voice inhabited by the singer, mid-way between Kid A and A Moon Shaped Pool . To be aware of the path traveled by Thom Yorke in almost twenty years, just listen to the song True Love Waits . First, in its fast version to the acoustic guitar on the live I Might Be Wrong in 2001. And then in his for a languorous piano fluffy ending A Moon Shaped Pool in 2016. The charm of the singer lies partly in its unpredictability style.

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