TRACK REVIEW:
EOB
Brasil
9.5/10
The track, Brasil, is available from:
https://www.youtube.com/watch?v=xefWbfWUbrQ
GENRES:
Art-Rock/Folk/Dance
ORIGIN:
London/Oxford, U.K.
RELEASE DATE:
5th December, 2019
LABEL:
Over Normal Limited, under exclusive license for UMG Recordings, Inc.
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THIS is a review I did not think…
IN THIS PHOTO: Ed O’Brien with BBC Radio 6 Music’s Matt Everitt/PHOTO CREDIT: BBC
I would be writing in 2019! EOB (Radiohead’s Ed O’Brien) has been teasing a solo album for a while but, with Radiohead duties curtailing any big progress the past few years, few expected a song or any output this year. On Thursday, EOB released the incredible Brasil. I am keen to dissect the song, as there is so much to talk about and dissect. There were reports saying that he might put out a solo album this year, but he has been touring with his band and I think we are now looking at a 2020 release – I am not sure what the album’s title might be. In any case, before I get down to reviewing the song, I want to cover a few things off the list. I want to talk about collaborations on albums. When it comes to EOB’s as-yet-untitled solo album, there are going to be some treats in store:
“O’Brien told The Pedal Show earlier this year that he had been working with producers Flood (U2, PJ Harvey) and Catherine Marks (Wolf Alice, The Big Moon) on the album.
A studio band will appear on the LP (the title and release date of which will be released soon) including The Invisible’s Dave Okumu, bassist Nathan East, and drummer Omar Hakim who previously appeared on David Bowie’s ‘Let’s Dance’.
It’s now also been revealed that other collaborators on the album include Colin Greenwood, Adam “Cecil” Bartlett, Richie Kennedy, Laura Marling, Adrian Utley, Nathan East and Glenn Kotche”.
I will talk more about producers and what they can bring to the plate but, when we consider some of the people who will be on EOB’s album, it seems like we are in for something very special! His Radiohead cohort Colin Greenwood will be a natural fit; Portishead’s Adrian Uttley, I am sure, will bring in some Electronic vibes and something cinematic; Laura Marling is on board and it will be intriguing to hear how she and EOB blend in terms of vocals. It can be a great thrill having a wish-list of singers and artists you want on an album; actually, making it work can be another thing.
I know EOB has thought long and hard about bringing the right collaborators into the fold without losing himself low in the mix. Those names we see above signal an album that is going to be ripe with diversity and quality. I am especially excited about the inclusions of Laura Marling and Adrian Uttley. The two artists share very little musical D.N.A., so it will be wonderful discovering what each brings to the album. Uttley has that history and legacy with Portishead, and it would be great to hear something Trip-Hop on the album – although the band, I think, don’t like being called ‘Trip-Hop’. Laura Marling has not put a foot wrong in her career, and I can imagine her providing this wonderful duet; something that is passionate yet dreamy. I feel the EOB album will have that contrast of the exhilarating and calmer, as Brasil proves! A lot of artists, when charged with getting an album down, will shove as many people into their songs as they can. Maybe it is them inviting all their mates to the party, but a lot of artists collaborate with those who will get their streaming numbers up; people who will make them look cool. That may sound cynical, yet one can see and hear it on so many albums, especially in the world of Pop. As EOB is new to the solo game, I can appreciate the fact he has united with others to give his music different tones and colours. Rather than have every song featuring a different artist, we have a sprinkling of terrific names that will give the tracks extra boost, beauty and character. Ed O’Brien has been in the business for decades, so he knows the recipe for a brilliant album. I cannot wait to hear his album; not only to hear the other artists stirred into the mix, but to hear EOB taken from his normal Radiohead setting and out in the spotlight. This is new territory to him but, on the evidence of Brasil, he sounds very natural leading the charge.
I want to cover off a few things more but, now that I have mentioned first-time singers, that is something that has been playing on Ed O’Brien’s mind. As guitarist with Radiohead, there was not a lot of opportunity to step up to the mic, especially when you have Thom Yorke as your lead! When you put out a solo album, you can choose to compose and let others sing your songs, or you can take the leap and sing yourself. I can imagine how strange it was for EOB to sing. I was listening to an interviewer he gave to BBC Radio 6 Music’s Matt Everitt (you can hear it on Shaun Keaveny’s show). Although EOB has been on the stage tonnes, it is very different being at the centre and having all the focus on you. He admitted how nervy it was and that it was a bit of a transition period. I am just trying to think whether any other non-singing band members have released albums where they are the singer. There must be the odd one here and there but, especially in the last couple of years, there have been very few examples. It is almost like Jimmy Page releasing a solo album where he sings. In fact, Johnny Marr has released solo work; that I know for certain. Even he must have felt a bit unsure at first, as his duties with The Smiths was composition and music, rather than the singing part – Morrissey took care of that. EOB must have provided backing vocals for Radiohead, but you have to adopt a new mindset and dynamic when you sing. EOB would have had to rehearse quite a bit and, literally, find his voice; how he wanted to sing and how he was going to deliver his music. It is not as easy as EOB trading in guitar for vocals and instantly taking to it like a duck to water. There is a lot to negotiate and figure before you start recording the tracks.
IN THIS PHOTO: Radiohead
EOB, on Brasil, shows no nerves and he actually comes across as a very distinct and accomplished vocalist; one with his own style and bent. So many singers mimic others if they are uncertain about their potential and strength. EOB’s big strength is the fact his natural voice scores the music. He has not added affectations or tried to be anyone else. I look forward to seeing what hew does, vocally, through the rest of his forthcoming solo album. It makes me wonder whether Ed O’Brien will do any vocals for upcoming Radiohead albums, now that he has that experience. It might be interesting to hear Thom Yorke take a bit of a back seat on one or two songs, perhaps. I am not sure whether that will happen, but it is great to hear an EOB song out there. It makes me wonder whether any other band members will follow suit. There is that feeling that, if you are a guitarist or play bass and drums for a band, that is where you are stuck. Stepping away from that assumed role and going out on your own can be scary, but I think it can lead to something marvellous. EOB has very little in common with Radiohead; many people will try and compare the two. Instead, we have this very original project that is born from passion and epiphany – more on that a bit later. Before I move along, EOB did say that he was especially stirred by Primal Scream’s Screamadelica when he was working on his album. He told Matt Everitt how he was hit by the album and, when listening, he wanted to create his own version. Many would not assume that of a Radiohead member, given the fact we have seen solo work from Thom Yorke, Jonny Greenwood and Philip Selway and, for the most part, it has been relatively similar to their Radiohead work in terms of tone. By that, I mean one can draw lines from their solo work to some of the albums Radiohead released. One would struggle to find a connection between Radiohead and Screamadelica. I think the industry needs more joy and positivity next year, so hearing EOB bring the energy and colour to music will be brilliant!
IN THIS PHOTO: Producer Catherine Marks/PHOTO CREDIT: Richard Ecclestone
Not only has EOB brought n some notable collaborators for his songs. In terms of producer, one needs to think carefully who they work with. A lot of artists do throw in so many producers and songwriters together, hoping that, between them, they will give their album range and quality. I am not a fan of that approach, and feel a single producer is more effective. EOB has worked with Flood on his new album. Actually, he has also brought in Catherine Marks and, between them, they have worked with some of music’s very best. I am very familiar with Marks’ work. The Australian producer has produced for The Big Moon, The Amazons and Frank Turner. You can check out her work here to see her impressive C.V. Marks is one of the most respected producers in the game, and she has a knack of bringing the very best out of the artists she works with – the point of a great producer, I guess! In terms of the genres she works in, Marks has produced for Alternative, Rock and Folk acts. She has a very keen ear and incredible talent that has resulted in some truly spectacular albums. I am interested seeing how she blends with EOB and which songs she produced. It is hard for an artist, even one as big as EOB, to work with any producer. With Radiohead, he has been produced by the likes of Nigel Godrich and John Leckie, but he was not going to keep the same personnel for his solo endeavour. Indeed, the dynamic is different in the studio. As a member of Radiohead, it is different working with a band and how a producer communicates. Now, EOB is solo and is taking on more responsibility. He is also the songwriter, so needs to trust producers who can work with what he has written and be able to bond. Marks is one of the most personable producers around, and she has the utmost respect for Ed O’Brien’s past. As EOB, this is a new game, so producers like Marks also have to ensure that the material is not moulded to resemble Radiohead’s work. By the sounds of it, EOB’s solo album will be a very different beast to his work with the Oxfordshire band.
PHOTO CREDIT: Daniel Patlan
Having Flood produce your album is a pretty big deal. He has an incredible past, and one needs only to see the artists he has produced to realise the man knows his stuff! From working with New Order in 1981 (as an assistant engineer) to producing The Murder Capital’s When I Have Fear (2019), it has been an incredible career! Like Catherine Marks, Flood has worked with a range of artists and genres. There are producers who produce for a certain type of act and do not really deviate that much. I respect those who take chances and work right across the spectrum. The British producer would have, of course, been familiar with Radiohead and what Ed O’Brien did with them. The important thing about approaching an EOB album is, like I said, not making it the same as Radiohead, but not dragging its guitarist too far away from that. Also, EOB has, it seems, brought together songs that are very eclectic and broad. There is that influence of Primal Scream, but there is also the lure of Brazil and Electronic experimentation; a lot of different moods and sounds that all need to fit together and flow. The fact Flood has worked with he Murder Capital recently shows that he can work with established musicians and newer acts alike. Flood has this rich history, so EOB is in very safe hands. I can imagine it might have been intimidating when approached with someone like Flood. You want him to bring the best out of your music, but also have to respect his experience and talent. I understand – from the Matt Everitt interview – that Flood was pretty cool, and they worked really well together. EOB’s album features two different producers who, between them, have helped bring about some masterful albums. I will move on to a subject I am keen to explore, but one cannot avoid EOB without talking about Radiohead.
I mentioned how an EOB album was on the back burner because Radiohead were touring A Moon Shaped Pool (2016) until fairly recently. I have been a massive Radiohead fan since I first heard The Bends back in 1995 and was instantly wowed by this incredible band. Ed O’Brien performed some backing vocals for Radiohead but, alongside Jonny Greenwood, it is the guitar chops that he was known for. I wonder how much the guitar will feature in his upcoming album, and whether there will be anything Radiohead-esque at all. As a musician, Ed O’Brien is an influence on a lot of people coming through. Of course, many have seen him at Radiohead gigs and in videos, stunning with his guitar skills. I wanted to introduce an article from last year where he discussed the guitar with High Snobiety:
“And you’re using this guitar on your current tour?
Yeah I use it for the majority of the songs we play live, which is unheard of for me. What I was beginning to tire of was changing your guitar every song, that can really stop the flow. So this one has been great, it’s a lot more intuitive to play.
Have there been any songs from your catalogue you’ve found particularly challenging to play live?
There might be a song we do off the new record that requires more – but it’s not going to distract me or anything. I can’t really play things off The Bends or OK Computer – they have such a distinct sound and you can’t really replicate it unless it’s from the same instruments. There are a few that are hard to do, but most I can do on the new guitar.
Are songs from A Moon Shaped Pool better suited to playing?
Not necessarily. Doing it live – an album like that – you can’t be true to how it sounds in the studio. So much of it is sonically assembled in the studio, so you’re doing a different version live. That’s where the guitar comes in so beautifully, as you can be more textural”.
PHOTO CREDIT: Andrew Benge/Redferns
The reason I wanted to bring that article is to sort of look ahead to the EOB album and how the guitar will be employed. Look through the catalogue of Radiohead, and one can hear them evolve and change significantly. The band shifted drastically between Pablo Honey (their debut of 1993) and The Bends. The guitar sound changed by the time of OK Computer (1997); by the time they got to Kid A (2000), again, the sound was different – later albums relied more on electronics and put the guitar more to the back. I think Ed O’Brien delivered some of his best work on A Moon Shaped Pool. The guitar was less aggressive and obvious than it was on the band’s albums in the 1990s; instead, there was a lot more texture and subtlety. I know EOB will be expanding beyond the guitar for his solo album, but it is going to play a role regardless. I am curious to hear what he does with the guitar and whether it will have tones of Radiohead’s earliest work (pre-2000) or whether it will take its lead from A Moon Shaped Pool. There is a lot of interest surrounding EOB’s album and what inspired it. As mentioned, he has been working on the songs for a while, and it was frustrating having the creation delayed by Radiohead commitments. There is one source of influence that I was not expecting: Brazil. One might think it only natural tat Brazil influenced a song called Brasil, but it seemed like O’Brien had an epiphany whilst he was there. He was inspired to write his album after watching Carnival in Brazil. It seems, though, that the natural world and the countryside has played a huge role This NME article explains more:
“As a musician, for me, there’s something I find completely inspiring about being in nature. It’s never really quiet,” O’Brien told the audience, before explaining how the natural world has influenced Radiohead over the course of their career.
When did you first become interested in wildlife and conservation?
“I grew up in the countryside so I was always aware of wildlife. My grandfather was an ornithologist; he knew all the birds and their birdsong. Being in the countryside is something that, whether I realise it or not, has always been important. In terms of how I feel, my happiness, my wellbeing, the wellbeing of my family, how I get inspired. I get a lot of inspiration being in the countryside. Conservation is something that I’ve become very interested in.”
Does nature influence your upcoming solo album?
“It’s massive. It’s been part of where I’ve done all of my writing, where it started. Being in the countryside, being inspired. Some of the recording happened in the countryside too. I know that one of the reasons it came about was going back to the country and having that clarity”.
I am always intrigued discovering what inspires songs and sounds. We listen to albums and do not often wonder what the genesis is and whether there is more to the music than we think. In the case of Ed O’Brien, it seems the natural world and the countryside have really done him wonders and given him a new lease. That is not a surprise. Getting out of the city and escaping to somewhere more peaceful and evocative can open the imagination and eyes. O’Brien must have felt it strange moving from somewhere like Oxford – academic, a bit stuffy and full of history – and the contrasts provided by the countryside. In the opening half of Brasil, one can hear elements of the open and nature; a sensitivity and stillness that calms the senses and takes the mind somewhere safe. In the second half, things burst into Dance territory; maybe channelling Brazil’s Carnival, some Primal Scream or an explosion in nature. I think we will get a very busy and variegated album from a fantastic musician. Brasil is the first taste, and the reaction from the press and social media has been hugely positive. It is probably best I get down to assessing this incredible track.
The first thing I wanted to note about Brasil is its video! Shot with a colour palette largely consisting of greens and earth colours, it is a hypnotic and wonderful engrossing thing. It is hard to describe the story and scenes – one will need to watch it -, but one is transfixed and absorbed in this cinematic and beautiful creation. Directed by Andrew Donoho, it is a perfect accompaniment to EOB’s track. The opening images in the video contrast the pace and lyrics. We see rushing people and this sense of energy, combined with a vocal that is quite soft and romantic. Brasil does get hotter and more fevered, but the earliest segments take one to the open air and the stillness of the countryside. The hero sings: “This bad day dream has got me/I'm falling like, I'm falling like/It's in me, and it's in you”. You are instantly curious regarding the meaning and what EOB is referring to; whether it is a personal struggle, or he is caught by the divisions that are swirling around him. With some beautiful finger-picking and his voice composed and focused, one is cast under his spell. There is not a lot of adornment or needless instrumentation that takes one’s thoughts from the beauty of the vocal and the potency of the lyrics. This image of falling comes back again and is a central image in the first part of the song. “How much of this to take” made me think of the political strife we have around and how we are going to get through it. When an artist employs a line that can have several meanings, I try and take a step back and approach it from different angles. EOB’s voice has a measure of control and tenderness, but there is a fear and urgency lingering that will soon come to the surface. He wants to see his sweetheart smile again, but it seems like that this is out of the question. The title of the song would get one thinking of Brazil and a paradise that is full of colour and inspiration.
Instead, we are faced with a song that has some haunt and fear in the bones. The hero feels like he is on his knees and, as one falls for the gorgeous guitar and an impressive vocal, one cannot help but feel sympathy and support. The video shows us images of breaking news on the T.V. and images of the open sky. It makes me think about the environmental problems we have and what the future holds. EOB is very much in Folk territory, and there is a dreaminess to Brasil that is hard to deny. As subtle orchestral strings strain and move in the background, one is reminded of artists like Nick Cave, Belle and Sebastian and Paul Simon. EOB keeps the listener in the palm of the hand as he beautifully plays and moves. “I think I know/That it’s time to go” is full of emotion and, again, one is not sure whether there is a personal breakup or a universal pressure that is getting too much. There is a sense of finality as the flame goes out and there is nobody to blame; a sense of one phase ending and another beginning. You can feel a gradual build up as EOB closes one chapter and puts his heart out there. We have this graceful, symphonic song that ends its page with positivity and dedication. The hero talks of “Eden days” and the love he feels; a togetherness and safety that keeps him warm against the tensions of the world and the uncertainty of the future. The moment the song makes its change happens around 3:30. The acoustic guitar and slowed vocal gives way to a beat and buzz that adds extra electricity to the mix. There is a vocal coda/line, but I cannot quite decipher what is being sung. In any case, one is taken aback as the song quickly changes course.
From a song that could have fitted into the Folk scene of the 1960s and 1970s, we are now taken from the ground and nature to the heavens; a parable that is more suited to the Dance scene of the 1980s and 1990s; maybe a club back in those heady days. “And I feel the love falling/Feel the love again” is repeated, and I was wondering what this love referred to. Is it a love of the planet and a love for each other? The hit and fashion of the beats suggests something hopeful and geared to euphoria; I am still in two minds as to whether the hero is happier or whether there are darker doubts lurking in his mind. The video adds some context, as we see people in the streets mirroring one another; their hands faced opposite one another as they seem entranced and beguiled. Brasil turns into a club stomper as the same lines are repeated; a mantra that, I feel, is intended to unite dancefloors and get people singing. Many people took to social media on Thursday when the song arrived, voicing their pleasure at hearing such an instant classic. Maybe Brasil will not be stacked alongside the classics of Dance and Rave, but there is something refreshingly uplifting and old-school that is truly addictive. The ever-changing nature of the song means you will listen again and again to Brasil; it is more a story and mini-drama that it is a song – Ed O’Brien’s bandmates Thom Yorke and Jonny Greenwood are no strangers to the multi-part song. The groaning bass and heavy thud is paired with glistening and sunshine sounds that gives Brasil so much weight. We started with Folk tones of the 1960s and then channel the giddiness of Rave and Dance in the next half. The final scenes of the video take us up to space and overwhelm the senses with beauty and something remarkable – you really need to watch the video alongside the track! EOB let’s Brasil unwind and float as we catch our breath and come to terms with this remarkable song. I thought I had my mind set when I compiled my favourite songs of 2019 recently: with Brasil, EOB has offered a December gift that should be in everyone’s best songs of 2019 list!
PHOTO CREDIT: Suzanne Cordeiro/AFP/Getty Images
There has been no official announcement regarding a date for EOB’s album and other tracks. I know he has still been working with Radiohead, and that has taken a lot of his time up. It is good we do not know too much ahead of time, as it would be tempting to tease us with song titles and snippets. Instead, we have a lead single and we will get more details next year. It has been a wonderful surprise getting some EOB music; a song that hits you instantly but unfurls and gets even bigger the more you hear it. It has definitely got us all excited and wondering going forward. With Flood and Catherine Marks producing and collaborators like Laura Marling on board, I think the EOB album will be one to grab! I shall leave things there and, having covered Ed O’Brien sufficiently, I would encourage people to follow EOB on social media, because 2020 is going to be a great year for him. Many people are already taking a punt on the biggest releases of 2020 and the artists we are most looking forward to bringing music into the world. I am really looking forward to the EOB album and all the combination of sounds and scenes. It will be heady and exciting one moment; there will be more trippy and calm moments and, who knows, there might be something that matches the best from Primal Scream’s Screamadelica. Who knows what we will get? Brasil is a very tasty and unexpected gem that starts off in one frame of mind before transforming and going off in a new direction! It is not what a lot of people were expecting, and it is a brilliant way to end this year. If you are a fan of EOB, then make sure you keep your eyes open…
FOR his upcoming album.
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Follow EOB
