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The Radiohead influence really becomes apparent on the last four tracks. The rest of the album wallows in a depression so deep, it'd make your grandparents stock up on canned foods and dress in rags. And finally, we come to the radio-ready "Broken Household Appliance National Forest," a track about "air conditioners in the woods."īut that's where the happiness ends. "Chartsengrafs" follows close behind, fueled by buzzing guitars and drawn-out harmonies. "The Crystal Lake" stands as one of the album's highlights with its driving chorus and preprogrammed Cars-inspired keyboard scale. After the heavy-hearted weight of "He's the Pilot," the bouncy "Hewlett's Daughter" serves as a nice breather. There are few upbeat tracks on the album, and most of them come toward the beginning. A few of these tracks also drag on just a little too long. The problem arises when Lytle plays the same bars repeatedly without relying on choruses or bridges (as in the almost torturous third track, "Jed the Humanoid"). Out of the gate, these melodies are all enjoyable to an almost surreal degree. The album's anthemic opener, "He's Simple, He's Dumb, He's the Pilot" gives a glimpse into the album's multi-layered, airy, Godrich-esque production techniques, as well as its general disheartened feel and epic tendencies (the track runs almost nine minutes long).įor the most part, the album's songs are solid to the point that they'd have the potential of becoming indie rock classics if frontman Jason Lytle wasn't content to beat you over the head with them. But surprisingly, Grandaddy inject the album with an air-tight cohesiveness, and enough of their own personality, emotion and creativity to warrant looking past the fact that someone's already succeeded in recording the ultimate anti-technology album.īut Grandaddy do manage to stir up raw emotion and genuine sincerity over songs that are far hookier and more immediately accessible than Radiohead's. The Radiohead influence seems obvious here, coming from a band whose last album, the 1996 (pre- OK Computer) debut Under the Western Freeway, was comprised of light-hearted, Weezer-inspired sing-alongs. But bands need to realize that they're not Radiohead, and that no one ever made it into the history books by trying to do what another group had already done better.
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OK Computer is, after all, one of the greatest albums our generation has experienced in its time.
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Really, you can't blame people for attempting their own variations on the theme. Yeah, since OK Computer, everyone wants to be them. Undeniably, this is that blasted Radiohead influence rearing its twitchy eye. The lyrical content of The Sophtware Slump focuses largely on failed industrial machinery- crashed airplanes, malfunctioning androids, and abandoned appliances- returning to the earth, or just lying around broken. This is quite possibly the last great entry in the atmospheric pop canon. However, even at this late hour, The Sophtware Slump manages to sound reasonably fresh, yields its share of unshakable melodies, and excels in production. How long ago did Mercury Rev issue Deserter's Songs? Is this all we can aspire to in the future? Where's the goddamn rock these days? Isn't anyone interested in volume? While no one may ever step up to answer these questions, one thing is for certain- time is running out for this genre, and I have a feeling it's not exactly going to age like wine. Atmospheric pop has dominated Critics' Lists for too long.