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Analyzing Radiohead (Oxford University Press, 2016)

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Analyzing Radiohead (Oxford University Press, 2016) Review of Brad Osborn, Everything in its Right Place: Analyzing Radiohead (Oxford University Press, 2016) Bre Clement KEYWORDS: Radiohead, rock music, form, rhythm, meter, timbre, harmony Received March 2017 Volume 23, Number 2, June 2017 Copyright © 2017 Society for Music Theory [1] In Everything in its Right Place , Brad Osborn offers an in-depth analysis of the music by English rock group Radiohead. Many readers will be familiar with this band’s career trajectory, including its early associations with the grunge and Britpop movements and its increasing experimentation beginning with the album K Computer (1997). For evidence of its current critical standing, one need look no further than Walter Evere?’s blurb on the back cover of this book, which describes Radiohead as “the sin1le most important rock band since 1970” 5read: The Beatles6. Thou1h Osborn identiBes his ideal reader as “a Radiohead fan who reads music” (xiii), I was drawn to the mono1raph by my curiosity re1ardin1 its methodolo1y rather than by any particular admiration for its subject. (I was only superBcially familiar with the band’s output.) I am 1lad to have waited so lon1 to 1et to know this music be?er, as Osborn proves to be the ideal 1uide, demonstratin1 to readers that it warrants and rewards analytical aention. Basin1 his central thesis on the concept of ecolo1ical perception, he aributes much of the success of Radiohead’s music to its hi1h de1ree of salience Cthe increased meanin1 that results from the band’s clever ne1otiation between two extremes, the conventional and the experimental. De seeks to demonstrate how “Radiohead’s juxtaposition of novel and conventional musical stimuli relatively affect a listener’s process of creatin1 meanin1 in their music” (11). One perhaps inevitable result of this undertakin1 is Osborn’s emphasis on the experimental aspects of Radiohead’s output and his ne1lect of their early work, which he Bnds “too predictable for listeners immersed in rock conventions” (10). $ile fans of the early albums mi1ht ar1ue this point, his approach will likely be of 1reater interest to readers of this journal. 52] One of the most helpful aspects of the book is its or1anization. Rather than proceedin1 chronolo1ically throu1h Radiohead’s output or o8erin1 a track9by9track analysis, Osborn instead 1 of 6 uses each chapter to investi1ate a broad musical topic, applyin1 one or more theoretical concepts to various son1s alon1 the way. There are individual chapters devoted to form, rhythm/meter, timbre, and harmony/voice leadin1Cnot to lyrics or melody, althou1h these topics and others do 1et some aention throu1hout the book. One must applaud Osborn’s son1 selection and orderin1 within each chapter, which creates a lo1ical Gow from one son1 to the next, culminatin1 in an “analytical coda” that treats one son1 in 1reater detail. These concludin1 analyses delve into the wider ran1e of meanin1s that Osborn identiBes in each son1. This same or1anization is cleverly mirrored at a hi1her level as well: the Bnal chapter o8ers an analysis of “Pyramid Son1” in which all of the analytical approaches discussed previously are brou1ht to bear on a sin1le track. 53] Chapter 2, on form, is the Brst application of Osborn’s overarchin1 notion of musical salience. De cate1orizes forms as either conventional (strophic and verse/chorus) or experimental (terminally climactic and throu1h9composed) and uncovers a 1eneral pro1ression toward more experimental forms over the course of Radiohead’s career. The primary distin1uishin1 factor between these two 1roups is the techniHue of recapitulation, which Osborn associates with conventional forms. Conversely, he considers the absence of recapitulation in experimental forms to be the “greatest challen1e to listeners whose perceptual strate1ies are auned to conventional forms” (22). In the case of terminally climactic forms, which conclude with a memorable new section servin1 as the son1’s climax, Osborn’s commentary left me impressed by the wide variety of approaches to structurin1 terminal climaxes that he Bnds in Radiohead’s output. For example, in “Karma Police,A the terminal climax compensates for a previous chorus that does not fulBll its function as a “memorable hi1h point” (24). Some climaxes are statistical (i.e., achieved throu1h texture, tempo, and/or volume), and others, such as in “Faust Arp,” are “anti9climactic” relative to an earlier chorus (29). Osborn’s manner of discussin1 the music as a real9time listenin1 experience vividly captures how terminal climaxes en1age with conventional forms, instillin1 a sense of 1oal9 directedness that would otherwise be lackin1. Particularly laudable in this respect is the chapter’s analytical coda on the son1 “2+2=5.” In addition to the interestin1 references to Orwell (in the lyrics) and Dandel (in the chord pro1ressions), we learn how this throu1h9composed form, featurin1 a crucial timbral shift at its midpoint, mi1ht have been experienced by fans at the time, particularly those who were disillusioned by the dearth of traditional “rock” timbres on the band’s previous two albums. Insi1hts such as this e8ectively hi1hli1ht how musical salience can be hei1htened by knowled1e of a band’s stylistic evolution. 5I6 Chapter 3, dedicated to rhythm and meter, o8ers perhaps the stron1est evidence for Osborn’s thesis. 3akin1 use of some of the extant research on rhythmic and metrical disruption ( Krebs 1999 , Nondon 2004 ) as well as his own earlier work ( 2010 , 201I ), he discusses Bve ways in which Radiohead’s music exploits complexity in order to achieve salience relative to popular9music norms: odd-cardinality meter , changing meter , Euclidean and maximally even rhythms , grouping dissonance , and polytempo . Thou1h Osborn states earlier that Radiohead’s music has “none of the surface level traits from pro1ressive rock bands of the 1970s” (10), the evidence in this chapter su11ests precisely the opposite, as most of the techniHues discussed are commonplace in various experimental rock 1enres, chief amon1 them pro1ressive rock. That said, it could be ar1ued that Radiohead’s employment of these devices achieves a particularly hi1h level of salience due to the speciBc interaction between the conventional and the experimental, as described by Osborn. 5M6 The analyses that follow focus on how di8erent listeners mi1ht interact with these Bve types of complexity, with special aention 1iven to the maintenance of some measurement, be it a subdivision, a beat, a meter, or a hypermeter. For example, re1ardin1 the odd9cardinality meter of the son1 “2+2=5” (a meter divided as 2+2+3), Osborn posits three listenin1 strate1ies, which are ordered accordin1 to the de1ree of listener en1agement with the 1roupin1 pa?ern. Particularly interestin1 is his third option, a “somewhat disen1aged” (58) hearin1 in which the listener taps on every Huarter9note pulse, driftin1 out of phrase with the paern every other measure and comin1 2 of 6 back into phase on each hypermetric downbeat. 3y 1uess is that many listeners take this option, thereby experiencin1 syncopations within and across the measures, but Osborn is justiBed in ar1uin1 for the comprehension of the 2+2+3 metrical paern. Similarly, he describes Euclidean rhythms (e.1., 3+3+2+2) as “metric9ish” (60), reco1nizin1 that some listeners mi1ht be tempted to overlook these surface9level pa?erns. I am somewhat less convinced of the perceptual si1niBcance of Osborn’s distinction between Euclidean rhythms and maximally even rhythms, the laer featurin1 lon1er beats that are spread apart as far as possible (e.1., 2+2+3+2+2+2+3). Still, his ima1inative hermeneutic readin1s of @3ornin1 Bell” and “The ,ational Anthem” describe some connections that an informed listener mi1ht make dependin1 on these cate1ories. Re1ardin1 chan1in1 meters, a crucial distinction is made between beat-preserving and beat-changing shifts, the laer reHuirin1 that the listener follow a faster “pivot” pulse value that is shared by both meters. From Osborn’s discussion, it appears that most of Radiohead’s meter chan1es are of the less disruptive beat9preservin1 kind. The section on 1roupin1 dissonance shows the band at its most experimental, as is e8ectively demonstrated in the concludin1 analysis of “IdioteHue,” which features the interplay between a 6-layer (percussion) and a more assertive 20-layer (sampler), culminatin1 in a 6:20 1roupin1 dissonance. All in all, the inspired level of analysis found throu1hout this chapter marks it as a hi1hli1ht of the book, and readers will likely Bnd this chapter to be a useful reference for future research into similar metrical experimentation by other artists. 56] Chapter 4 provides a much9needed theoretical contribution to the analysis of musical timbre, continuin1 the book’s focus on listener perception and en1agement. In interpretin1 timbre, Osborn employs Smalley’s ( 1997 ) concepts of source-bonding , throu1h which the listener relates sounds to their apparent sources, and spectromorphology , which tracks a listener’s interactions with these sounds and sources over time. A1ain, Osborn emphasizes aspects that are salient, which in this chapter means timbres that are not instantly reco1nizable due to source-deformation or synthesis . Re1ardin1 source9deformation, which dis1uises the timbre of an instrument or voice, he focuses primarily on deformations applied to the 1uitar and the vocal, introducin1 the reader to a host of technolo1ies available to the modern recordin1 artist. Synthesis is a more complex issue, reHuirin1 surrogacy for the listener to e8ectively bond with a non9traditional source. In Radiohead’s music, Osborn Bnds primarily “third9order” surro1acy at work, in which listeners respond to the human gestures that activate the source (e.1., the synthesis of a bass9like sound on a keyboard). In contrast, “remote” surro1acy features timbres that “brin1 to mind no human 1esture” (121), such as -onny Preenwood’s use of the ondes 3artenot. 3any of the concepts discussed in the chapter are nicely represented in the concludin1 analysis of the eerie @Nike Spinnin1 Plates,” which includes a novel corru1aphone timbre as well as source9deformation and third9order surro1acy.
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