Radiohead cut their own groove

Radiohead is at a point in their career where they can really do whatever they feel like doing. They are no longer tied to a major label. They don’t set out to make hit singles. They are not driven by money or fame. They can announce album releases on a Monday and unleash them on the Internet on a Friday.

They are in complete control over the content that they produce — and that shows on their latest release, “King of Limbs,” as the group sounds comfortable and confident.

“King of Limbs” does not feature a guitar-riff killer like “Bodysnatchers” or a chaotic freakout like “The National Anthem.” It is a concise collection of music that is defined by its electronic rhythm section and augmented by Thom Yorke’s vocal performance.

It might not be as ambitious as their previous work, but it holds up in its own relaxed sort of way. It is refreshing to listen to; it doesn’t feel redundant compared to their previous material.

“Bloom” opens the album with piano, which is then met by a drum loop before the listener is sucked into Yorke’s drone. The drums create a fast pace to the song, but Yorke croons slowly over the beat. Yorke does not always make his lyrics the clearest to understand unless you’re making an effort, but many of Radiohead’s songs are about the aesthetics and moods that they emote and the atmosphere of sounds created.

Like a Rob Gordon playlist, the second track takes things up a notch. A bass loop throughout “Morning Mr Magpie” needles along, sounding like some jazzy Morse code.

“Little by Little” feels very “Amnesiac,” and is one of the few tracks where the guitar is not just a novelty. The percussion rolls the track along at a good pace, but the interplay of Yorke’s vocals with the guitar is the real strength here.

The standout track, “Lotus Flower,” comes in the middle of the album. A moody bass moves back and forth under Yorke’s falsetto. The song is quite danceable, as Yorke has shown us on Youtube.

“Codex” and “Give Up The Ghost” both have a haunting vocal quality of different varieties and are slower-paced. Codex makes you feel like someone has died and his or her body has been thrown overboard and is just falling slowly in the water.

“Give Up The Ghost” is a little bit sunnier; it brings more feelings of hope after “Codex.” Chirping birds bring a bit of sunshine to the beginning of this melancholy track, and acoustic guitar strum accompanies Yorke’s vocals.

After the previous two tracks, the album closer “Separator” lifts away the clouds and feels much more upbeat. The trick with this track is that while it is more upbeat, it makes you feel unsure about its intentions. The swirling synthesizers leave you still suspicious about the picture it is trying to paint.

Most of the tracks make you want to unhinge your limbs and free dance; the album has a great rhythm overall.

Immediate comparisons for this record, upon first listen, would be to “Amnesiac,” “Kid A” or Yorke’s solo material on “The Eraser”, but this record still feels unique and is a fine next step in the Radiohead library.