It only seems fitting that Radiohead, who have consistently set the bar for groundbreaking music, would release an album by surprise and available solely on the Internet for whatever price you choose, or in a deluxe disc box for the price of about $80. The band gave a week and a half’s notice of the release-throwing anticipation out the window. To be honest, this might have saved the lives of many diehard fans who would have probably underwent anxiety attacks had the wait been months long.

In Rainbows opens with “”15-Step,”” a rigid-yet-smooth mish-mosh that features Jonny Greenwood’s electronic experimentation. Each and every sound is distinct-the unusual lull in Thom Yorke’s voice is especially endearing.

“”Nude”” and “”All I Need”” bring the album a bit down-tempo. This creates a rather full-circle sound, after tracks like “”15-Step”” and “”Bodysnatchers.””

Greenwood’s glockenspiel, most notably used in tracks like “”No Surprises,”” from 1997’s Ok Computer, stands out in “”All I Need,”” along with Yorke’s lyrics: “”I’m a cloud of moths/ Who just wants to share your light.””

“”House of Cards”” utilizes simplistic guitar and bass riffs, but the reverb in Yorke’s voice allows for a rather complex sound to emerge. This popular live song sounds whole when recorded and mastered.

Closing much like Kid A, “”Videotape”” features Yorke’s addicting piano melody, and vulnerable lyrics about a videotape good-bye at the end of life: “”This is my way of saying goodbye/ Cause I can’t do it face to face.””

It is hard to remain objective when listening to a Radiohead album, for they continue to surprise and evoke new sounds and emotions, no matter the material. For an album that has no monetary value, In Rainbows proves Radiohead’s true artistry through reoccurring brilliance and that it might make it the world’s most valuable album.

Laura Hassett

After the success of its first album, Everything All The Time, Seattle’s Band of Horses moved across the country to South Carolina to record its second full-length effort, Cease to Begin. The quasi-country but definitely indie rock-inspired group took Southern charm to heart for the release.

“”Is There a Ghost,”” the first track, starts off strong. Lead singer Ben Bridwell shies away from standard song format and simply repeats the same lyrics over and over again as the guitars and drums crescendo. While it’s refreshing to hear the band branch out of its comfort zone, it also bodes a sense of a lackluster start.

“”No One’s Gonna Love You,”” instantly drags back attention after a so-so second track, “”Ode to LRC.”” Reminiscent of a classic Horses slow-tempo track, Bridwell sings about his affection for a lost love: “”Things start splitting at the seams and now/ It’s tumbling down.””

The album is a solid second release for the band. If some fans are not subject to change the album might not be worth the purchase.

Laura Hassett

Kid Rock’s new album feels like a hangover. It beats at your head all day and won’t go away.

And like someone waking up from a long night of downing booze and partying it up, Rock n Roll Jesus lacks any defiant energy you’d expect from someone like Kid Rock. In fact most of this album is so over processed it doesn’t even sound like Kid Rock singing.

The album opens like vintage Kid Rock, which isn’t that great to begin with. The first track “”Rock n Roll Jesus”” has the build-up of a normal Kid Rock song, but quickly fizzles into Country banality, and the second track “”Amen”” follows the same blueprint.

“”Don’t Tell Me U Love Me”” is probably the saddest example of Kid Rocks transformation. The song is a feel-good crap-fest that’s so sappy it could only work as the soundtrack to an after-school special.

It’s hard to believe it’s been less than 10 years since Kid Rock released his breakthrough album Devil Without a Cause. If his most recent release, Rock n Roll Jesus, is any indication it looks as if the years have taken their toll.

Andrew Austin