Thom Yorke's projects often share common traits: they are unmistakably “Thom Yorke” while also being entirely unexpected. On the other hand, Mark Pritchard remains a prolific figure, contributing vital sonic elements to a range of projects while generally staying out of the spotlight.
Their collaboration results in ‘Tall Tales’, an album that is at times ethereal, often tongue-in-cheek, and occasionally surprisingly forceful. It forms a unique addition to the Yorke discography while also serving as a musical reference point for the collaboration of two creative minds.
The album opens with ‘A Fake In A Faker’s World’, featuring a subdued beginning with a pulsing synth beat soon accompanied by Yorke’s ethereal, filtered vocals. As those vocals repeat, contemplating the uncertainties in our reality, the track establishes a slow-paced rhythm that ebbs and flows like a tide. The eight-minute and nineteen-second duration of this opening track boldly signifies that this album is more a creative endeavor than a mainstream hit.
‘Ice Shelf’ offers a sense of foreboding, presenting a chilling soundscape reminiscent of an obscured horizon, with Yorke's heavily processed, dreamy vocals lacking structure until the final minute. The rhythm introduced at the end serves to punctuate rather than reassure; this track accompanies deep contemplation. In contrast, the otherwise ethereal ‘Bugging Out Again’ takes on a more melodic quality within this context, featuring a thematic vocal line from Yorke, while Pritchard’s intricate sounds begin to coalesce around his voice, hinting at clarity amid the darkness.
In ‘Back in the Game’, their vision shines through, as a recognizable electronic pulse breaks free from discord. Yorke’s voice here is prominently his own, assertive and mature.
The energy subtly drops again in ‘The White Cliffs’, where Yorke showcases his purest vocal tones using a rarely heard falsetto. It’s refreshing and encourages a laid-back atmosphere as his voice floats over a synth chorus. The track expands progressively, allowing for various phases, demonstrating Pritchard's ability to exploit the open canvas provided, resulting in a smooth and effortless creative flow. There are, of course, echoes of numerous Radiohead songs in this piece; while I’ve tried to limit those references, comparisons remain inevitable due to their extensive discography and Yorke's significant role.
The line “Everything is out of our hands now” reflects a central theme of the song. While this should provide comfort, it also conveys a chilling assurance after moments of anxiety.
‘The Spirit’ carries a more transparent sound, offering clarity for Yorke as he gradually becomes more prominent throughout the album. His vocals are sharp under a chilled production, smoothly transitioning into the quirky, digital musings of ‘Gangsters’, which feels like the reflections of a digital consciousness that ultimately prevails. This might represent Yorke’s android-inspired vision coming to life.
‘This Conversation Is Missing Your Voice’ provides a respite, delivering a more cohesive tune imbued with a human touch. “I’m not your problem to be corrected / How can you function with a mind ejected…”
The title track, ‘Tall Tales’, takes a sudden turn back into darkness, featuring a skillfully sequenced, haunting dream filled with snippets of distorted conversation. As you listen closer, you begin to question the seriousness of it all.
“There were these two clowns / Double scoops for everyone / Not me…”
It’s certainly disconcerting, but to what purpose?
‘Happy Days’ adds to the ambiguity, built around a faux-cheerful marching beat complemented by lighthearted vocals. As the song progresses, a bassoon's entry solidifies the tone. It’s a type of music that challenges you – invites you – to engage playfully with it.
“Drowning in the deep blue sea…” Yorke sings, followed by “Happy days, happy days, death and taxes.” There’s undoubtedly more than one layer to this message: while it can be enjoyable to listen to, the takeaway may depend on your current mental state. Are Yorke and Pritchard employing a wry humor to satirize the world at large? Or are they mocking us as we confront our malleable feelings?
‘The Men Who Dance in Stag’s Heads’ presents a gravelly, contemplative atmosphere; a mysterious lullaby enriched with orchestral backing. This soothing style contrasts nicely with the previous track, leading us into the album’s closing piece: ‘Wandering Genie’. Here, the line “I am falling” is inescapably repeated to profound effect.
As the song fades, it leaves an impression of gentle yet persistent pressure; the album has been a perceptive and ceaseless rollercoaster, akin to a child’s fairground ride warped into a reflection of rarely discussed inner fears. This record isn’t meant to calm your anxieties; in fact, it could uncover some that you
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Thom Yorke’s projects often exhibit similarities: they are unmistakably “Thom Yorke” while also existing completely beyond what one might anticipate.