An understated album which was seemingly rejected at the time of release, The King of Limbs provides a thoroughly interesting escape for Radiohead. Where its members in the modern-day may be spineless creatives whose music is politically oriented yet spreads no message, their performances are still fascinating. Displays of sheer thrill and deeply moved moments in the pursuit of the artistry of an abstract, ever-questioning style. The King of Limbs inspired that, at the very least. An album which eclipses some of the group’s earlier works, though for the avoidance of rioting, we shall never name them. The King of Limbs: Live from the Basement, does an excellent job of highlighting what most already knew. Radiohead as a live act, as performers perfecting the studio sound, is an entertaining experience.
Taking a trip into the studio as the band performs The King of Limbs is an eye-opening experience. Radiohead turns their attention not to the additional meanings which come over time, but to what can be developed in the core of The King of Limbs. What would it be like to re-record the album, is the route found on The King of Limbs: Live from the Basement. After it has been released, what extra can be added? Crucially, too, what can be changed? A lighter touch is what the group gives it, shying away from the slow-burning appeal of their 2011 effort. Their performance of The King of Limbs in full is a chance to explore the additions which only come through live performance. A song recorded in the studio is changed over time by being performed. Just look at how Bob Dylan mangles, manages, and redresses his classics on stage now. More artists should do it, not because it gives audiences a new look at a familiar favourite, but because it opens up a possible new meaning.
Radiohead finds that here, at least. A performance in the Maida Vale Studios has some staggering moments. Opener Bloom and Lotus Flower are the clear highlights. Director Vern Moen has the right idea. Keep the action moving with static cameras, extreme close-ups and a focus on the predominant musician. If the brass is getting louder, shift the camera to them. If Yorke is performing, sharpening the lyrical mood of The Daily Mail, then move with it. Moen makes this a fantastic viewing by following the loudest sound, something which would not work for other bands. But for Radiohead, who are dissecting their work so soon after completing it, this makes for a frequently exciting experience.
Even with those overhauls, The King of Limbs: Live from the Basement can, really, only go as far as your enjoyment of the album. For those who wanted another OK Computer, these performances are still going to disappoint. For those who found The King of Limbs to be a fascinating, reflective experience which still had the usual shortcomings of the Yorke-fronted band, then this performance in the basements of a London-based studio will be of satisfying quality. The performances across the board are exceptional, the instrumental depths of Radiohead are not only picked apart, but reinterpreted with the context of having completed the record. That is a massive change for the band, and it is highlighted brilliantly by Moen.
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