{"id":3562,"date":"2018-10-29T19:34:41","date_gmt":"2018-10-30T00:34:41","guid":{"rendered":"http:\/\/blogs.dickinson.edu\/wdcvfm\/?p=3562"},"modified":"2018-10-29T19:34:41","modified_gmt":"2018-10-30T00:34:41","slug":"thom-yorke-suspiria","status":"publish","type":"post","link":"https:\/\/blogs.dickinson.edu\/wdcvfm\/2018\/10\/thom-yorke-suspiria\/","title":{"rendered":"Thom Yorke – Suspiria"},"content":{"rendered":"

Singer, producer, frontman of Radiohead Thom Yorke, exhibits his known vocal beauty while also revealing extraordinary compositional production on <\/span>Suspiria (Music for the Luca Guadagnino Film).<\/span><\/i><\/p>\n

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Radiohead\u2019s talent is difficult to analyze, mostly because it all comes in the same package. Even though Philip Selway doesn\u2019t sing, does he ever add anything to Yorke\u2019s lyrics? Because Yorke is always the one singing, does he help with any production work? What does Ed O\u2019Brien do? Unless there are solo works by members of the band, any sense of individual talent in the band could go unrecognized. The Beatles are a pretty obvious example of this; only after they split up was it proven that George was a way better songwriter than Paul (it\u2019s true and you know it). Jonny Greenwood, an accomplished composer and orchestral writer, has scored every Paul Thomas Anderson movie since <\/span>There Will Be Blood, <\/span><\/i>and was recently given an Oscar nomination for his score of <\/span>Phantom Thread<\/span><\/i>. Now, Yorke\u2019s decided to showcase his own style in the direction of a horror classic for the upcoming reboot of <\/span>Suspiria.<\/span><\/i><\/p>\n

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As a listening experience, <\/span>Suspiria<\/span><\/i> is best with big noise-cancelling headphones and all the lights off. It\u2019s supposed to be for scary movies, which it easily accomplishes; Yorke understands the power of ambience and noise to illicit pressure and fear. But what really makes this record stand out from a standard score is its diversity in texture. \u201cA Choir of One\u201d, a 14-minute experience, is in the same album as the one-minute \u201cThe Inevitable Pull\u201d, a dense synthetic track that sounds like something bad is happening in the basement and you know somebody\u2019s gotta investigate it. Tracks like these two compose the soundtrack-like-elements of the double-album, and while they are enjoyable in their own right, what keeps me coming back are the Thom-like-elements that feature Yorke\u2019s vocals. \u201cSuspirium\u201d, one of the lead singles to the album, is a piano ballad that has Yorke floating with that golden falsetto of his over the instrumentation. <\/span>Suspiria,<\/span><\/i> a movie about a dance academy being run by a witches coven, finds its place in Yorke\u2019s lyricism, as he says on the track, \u201c<\/span>This is a waltz, thinking about our bodies, and what they mean, for our salvation.\u201d Moments like these are similar to Radiohead\u2019s most recent album, <\/span>A Moon Shaped Pool, <\/span><\/i>although without any drums, guitars or heavy electronics behind him, Yorke\u2019s vocals remain isolated, exposed for everybody to be confused about the true meaning of them.<\/span><\/p>\n

\"\"Until the newest version of <\/span>Suspiria<\/span><\/i> hits theaters or streaming services, the greatest effect of Yorke\u2019s effort is impossible to analyze. But, as a standalone ambient double-album, Thom Yorke has shown his beautiful artistry beyond just his gorgeous voice. Layered synths, experimental ten-plus-minute tracks, and spotlight appearances of Yorke lyrically create a fully realized world of tension and elegance that seems to make up Luca Guadagnino\u2019s <\/span>Suspiria.<\/span><\/i><\/p>\n

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Article written by Jackson Rhodes ’21<\/p>\n","protected":false},"excerpt":{"rendered":"

Singer, producer, frontman of Radiohead Thom Yorke, exhibits his known vocal beauty while also revealing extraordinary compositional production on Suspiria (Music for the Luca...<\/p>\n","protected":false},"author":3258,"featured_media":3564,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"ngg_post_thumbnail":0,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","_links_to":"","_links_to_target":""},"categories":[78392,53708,2043],"tags":[22261,149002,36,149005,149006,149004,149003],"class_list":["post-3562","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-album-reviews","category-representing-the-underrepresented","category-underwriting","tag-featured","tag-jackson-rhodes","tag-music","tag-new-album","tag-soundtrack","tag-suspiria","tag-thom-yorke"],"jetpack_featured_media_url":"https:\/\/blogs.dickinson.edu\/wdcvfm\/files\/2018\/10\/thom-yorke-live.jpg","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/posts\/3562","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/users\/3258"}],"replies":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/comments?post=3562"}],"version-history":[{"count":0,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/posts\/3562\/revisions"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/media\/3564"}],"wp:attachment":[{"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/media?parent=3562"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/categories?post=3562"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/blogs.dickinson.edu\/wdcvfm\/wp-json\/wp\/v2\/tags?post=3562"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}