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| The King of Limbs | |
|---|---|
| Name | The King of Limbs |
| Type | studio |
| Artist | Radiohead |
| Released | 18 March 2011 |
| Recorded | 2007–2010 |
| Genre | Alternative rock, electronic, experimental |
| Length | 37:06 |
| Label | XL Recordings, Ticker Tape |
| Producer | Nigel Godrich, Radiohead |
| Prev title | In Rainbows |
| Prev year | 2007 |
| Next title | A Moon Shaped Pool |
| Next year | 2016 |
The King of Limbs is the eighth studio album by the English rock band Radiohead. Recorded intermittently between sessions for other projects, it marked a shift toward dense sampling, rhythm-focused arrangements, and experimental production led by producer Nigel Godrich. The album's curtailed length and unconventional release strategy provoked debate among critics, fans, and the music industry while influencing subsequent artists across electronic, pop, and experimental rock scenes.
Radiohead members Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, and Philip Selway reconvened after touring for In Rainbows and solo projects by Yorke and Greenwood, including work with Atoms for Peace and orchestral commissions. Recording took place at studios associated with Nigel Godrich, drawing on gear from OK Computer-era sessions and newer instruments like modular synths influenced by innovators such as Brian Eno and Aphex Twin. Sessions occurred in multiple locations linked to the band: rural houses near Oxfordshire, professional studios in London, and setup spaces used during tours with connections to Abbey Road Studios workflows. The band experimented with looping techniques used in live arrangements by artists such as Steve Reich and sampling approaches reminiscent of J Dilla and DJ Shadow. Percussion-centric ideas were advanced by contributions from accelerator partners in the post-rock community and inspired by drummers from acts like Sigur Rós and Talk Talk. Production emphasized texture layering and live manipulation, practices associated with engineers at Maida Vale Studios and producers including Brian Eno and Flood.
Compositions pivot around rhythm, fractured time signatures, and electronic processing informed by contemporary scenes linked to Glitch and IDM. Thom Yorke's vocal lines recall phrasing found on releases by Unkle and collaborations with PJ Harvey, while Jonny Greenwood's arrangements suggest influences from Steve Reich and scores for There Will Be Blood. Tracks incorporate manipulated brass and woodwind timbres reminiscent of sessions involving Jon Hassell and sampling techniques used by The Avalanches. Harmonic choices echo elements present in works by Radiohead's peers such as Portishead and Massive Attack, and the album uses textures comparable to compositions by Autechre and Squarepusher. Lyrically, themes touch on environmental unease and urban alienation, motifs explored in literature associated with J. G. Ballard and films linked to David Cronenberg. Song structures depart from verse-chorus norms, reflecting formal innovations found in pieces by Brian Eno and Steve Reich while employing studio-as-instrument methods endorsed by Nigel Godrich and labels like XL Recordings.
Radiohead announced the album with unconventional tactics that echoed their earlier pay-what-you-want strategy for In Rainbows and promotional moves by artists such as Björk and Nine Inch Nails. The initial digital release was handled through their webstore and the independent label XL Recordings, followed by limited physical editions akin to special pressings issued by Vinyl Me, Please and deluxe campaigns used by Coldplay and Arcade Fire. The band staged minimal traditional advertising, opting instead for curated events similar to in-store appearances organized by Rough Trade and surprise broadcasts like releases from Daft Punk. Promotional partnerships involved art collectives linked to The Creators Project and visual collaborators active in festivals such as Primavera Sound and All Tomorrow's Parties.
Critical reaction ranged from praise for inventive production to frustration over brevity and perceived incompleteness; reviews referenced outlets and commentators associated with NME, Pitchfork, The Guardian, and Rolling Stone. The album reached high chart positions in markets including the United Kingdom, United States, Canada, Australia, and several European territories, mirroring previous Radiohead commercial peaks like those for OK Computer and Kid A. Singles and promotional tracks garnered radio play on stations tied to BBC Radio 1 and specialist programs at KEXP, while placements in media echoed sync strategies used by artists whose music featured in Luc Besson or Christopher Nolan soundtracks. Sales figures reflected the changing industry dynamics documented by trade bodies such as the BPI and RIAA and compared to contemporaneous releases from acts like Arcade Fire and The Black Keys.
Artwork was created in collaboration with longtime Radiohead partners and visual artists whose practices intersect with designers linked to The Designers Republic and photographers represented by agencies like Magnum Photos. Packaging for special editions included limited pressing multiples, lithographs, and unique sleeves that drew parallels to collector releases from Prince and Radiohead's peers such as Nine Inch Nails. The visual aesthetic referenced organic motifs found in exhibitions at institutions like the Tate Modern and galleries associated with Saatchi Gallery, while typography and layout bore resemblance to design approaches used by Peter Saville and Storm Thorgerson.
Following release, Radiohead performed select dates and festival appearances connected to Glastonbury Festival, Coachella, and Lollapalooza, tailoring live arrangements to the album's rhythmic focus as seen in tours by Portishead and Massive Attack. The band employed sampling rigs and software tools akin to those used by artists such as Nine Inch Nails and Sigur Rós to replicate studio textures on stage. Performances were documented by broadcasters including BBC and NPR, and selected live tracks appeared on special releases resembling live series from Peel Sessions and curated sessions by KEXP.
The album influenced a generation of producers and bands working at the intersection of indie rock and electronic music, informing approaches by artists associated with labels like Warp Records, XL Recordings, and 4AD. Its emphasis on rhythm and sampling can be traced in subsequent releases by acts such as Foals, Alt-J, Tame Impala, and producers in the electronic and indie scenes who cite Radiohead alongside figures like Aphex Twin and Brian Eno. Academic and critical discourse around the album has appeared in publications and conferences related to musicology at institutions including Goldsmiths, University of London and Berklee College of Music, contributing to studies of 21st-century production practices and the evolving relationship between artists, labels, and digital distribution.
Category:Radiohead albums