FEATURE:
Radiohead’s The Bends at Thirty
IN THIS PHOTO: Radiohead in San Francisco in July 1995/PHOTO CREDIT: Jay Blakesberg
The Legacy of Their Second Studio Album
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ON 13th March…
we mark thirty years of Radiohead’s phenomenal second studio album, The Bends. I have already written a feature about it. I want to revisit it ahead of its thirtieth anniversary. Whilst many rank it below OK Computer (1997) and Kid A (2000) in terms of the Oxfordshire band’s greatest moment, The Bends is my favourite album of theirs. I want to include some features that discuss the legacy of a classic that arrived in 1995. One of the greatest years for music, few more important albums were released that year than The Bends. Its legacy today is so strong. In terms of the bands its influence and how it changed British Rock and Alternative music. I want to start out with this feature published last year that celebrated twenty-nine years of The Bends:
“The Emergence of a Masterpiece
When Radiohead released The Bends in March 1995, few could have predicted its seismic impact on the music industry and the alternative rock genre. Coming off the back of their hit single “Creep,” the band was pigeonholed as one-hit wonders. However, The Bends shattered these expectations, weaving intricate guitar work with expansive sonic landscapes and Thom Yorke’s haunting vocals. But what makes The Bends such a revered album? Let’s dive in.
The Genesis of The Bends
At the heart of The Bends is a story of transformation. Following Pablo Honey’s unexpected success, Radiohead found themselves under immense pressure. This section explores the band’s journey from their grunge-influenced roots to creating an album that defied the expectations of critics and fans alike.
The Struggle and the Breakthrough
The recording process of The Bends was marked by tension and dissatisfaction. The band struggled to find a direction, experimenting with various styles and sounds. This period of trial and error led to the album’s diverse track list, from the anthemic “High and Dry” to the introspective “Fake Plastic Trees.”
Collaboration with Producer John Leckie
Key to the album’s sound was the collaboration with producer John Leckie. His experience and vision helped the band refine their ideas, pushing them to explore new sonic territories. This partnership was instrumental in creating the album’s richly textured soundscapes.
The Bends’ Key Tracks
The Bends is an album where each track contributes to a larger narrative. This section offers a detailed analysis of the album, highlighting the thematic and musical continuity that runs through its 12 tracks.
“The Bends”
The title track, “The Bends,” is a powerful opener setting the album’s tone. Its explosive energy and intricate guitar lines capture the sense of urgency and disorientation that permeates much of the album. The lyrics reflect the band’s discomfort with sudden fame and the shallowness of the music industry, themes that recur throughout the album.
“High and Dry”
“High and Dry” is one of the album’s most accessible and beloved tracks. Its melancholic melody and Yorke’s emotive vocals deliver a poignant message about vulnerability and disillusionment. The song’s mainstream appeal did not compromise its depth, as it continues to resonate with listeners for its sincere depiction of human fragility.
“Fake Plastic Trees”
Perhaps one of the most iconic tracks on The Bends, “Fake Plastic Trees,” is a haunting ballad that showcases Radiohead’s ability to blend emotional depth with musical simplicity. The song’s lyrics, dealing with artificiality and superficiality, are delivered by Yorke with a raw, moving, and profound intensity.
“Street Spirit (Fade Out)”
The album’s closing track, “Street Spirit (Fade Out),” encapsulates The Bends’ essence. Its haunting melody and introspective lyrics speak to the theme of despair and hopelessness, yet there’s a certain beauty in its melancholy.
Shaping the Sound of a Generation
In the years following its release, countless artists cited The Bends as a major influence. Its experimental approach to songwriting and production set a new standard for what could be achieved in the studio. The Bends inspired a generation of musicians, from Coldplay to Muse, by proving that rock music could be introspective, experimental, and commercially successful.
The Bends in Radiohead’s Discography
Positioned between Pablo Honey’s rawness and OK Computer’s experimentalism, The Bends bridges Radiohead’s evolution. This section reflects on its place within the band’s body of work and its role in setting the stage for their future innovations.
The Enduring Legacy of The Bends
Over two decades since its release, The Bends remains a pivotal album in Radiohead’s catalog and alternative rock landscape. Its exploration of human emotion and innovative sound has cemented its status as a timeless classic. As we reflect on its legacy, it’s clear that The Bends is not just an album; it’s an emotional journey that continues to resonate with listeners worldwide”.
Not only was The Bends important in how it changed music and fitted into the climate of the mid-'90s. It was also important in how it changed the perception of Radiohead. After the lacklustre 1993 debut, Pablo Honey, The Bends marked a confident leap forward. Feeling much more like a debut album. Their confidence from there grew and they took this into their following two albums. The album many consider to be their masterpieces. I want to move on to this feature from 2021. They discuss Radiohead’s The Bends as an album that changed music:
“The Bends was Radiohead’s Big Leap Forwards into unknown musical territory, and also distinguished them from the Britpop movement. The song writing is incredibly strong throughout and is enhanced by striking arrangements, extraordinary sonic landscapes, and a majestic production, courtesy of producer John Leckie. The Bends is Ground Zero for what has been called “the Radiohead aesthetic.”
PRESSURE
So how did Radiohead manage to make a masterpiece with their second effort? By all accounts, by the middle of 1993, the band found themselves in an odd place. They’d enjoyed some minor success with their debut album Pablo Honey, which had been released early that year, but lead single “Creep” had bombed in their homeland, as it had been declared “too depressing” by the BBC and was excluded from radio playlists.
Following an iconic performance of “Creep” on MTV in the summer of 1993, the song became a hit in several countries, and even gained popularity in the US as a “slacker anthem,” similar to Nirvana’s “Smells Like Teen Spirit,” and Beck’s “Loser.” EMI re-released “Creep” in the UK in September 1993. It promptly went to number seven.
As a result, the pressure was on for Radiohead to capitalize on the success of “Creep.” The band did not feel comfortable with this at all, and after a cancelled concert, Thom Yorke stated, “Physically I’m completely fucked and mentally I’ve had enough.”
TRYING TOO HARD
Pablo Honey had been engineered, mixed and produced by Americans Sean Slade and Paul Q Kolderie. For the new album, Radiohead chose British producer John Leckie to work with, who by 1993 was a big name in the UK alternative rock scene, having worked with XTC, Be-Bop Deluxe, Simple Minds, The Fall, Dukes of Stratosphear, The Stone Roses and countless others.
Radiohead and Leckie started work in RAK Studios in North-London in February 1994. Helping Leckie out was RAK tape op Nigel Godrich, who went on to produce all future Radiohead albums. With Radiohead resenting the pressure to create a hit, tensions grew high. Sessions were not working out, the band’s manager at one point nearly quit. Leckie concluded that they were “trying too hard.”
The sessions could easily have broken down or yielded substandard material. However, despite the stressful circumstances, progress was eventually made. Leckie had set the band up in the huge live room of RAK Studio 1, which is a former ballroom, with tons of space and daylight. The band members were separated by sliding doors and baffles.
COLLABORATIVE
Leckie remembers that the microphones on the drums involved were: on the kick AKG D25, AKG D12, Electrovoice RE20 or Sennheiser MD421, on the snare Shure SM57 or Neumann KM 84, on the toms Sennheiser MD421, on the hi-hat Neumann KM84 hihat, overheads varied between pairs of Neumann U-87, KM-84 or U-47, Coles 4038, AKG C414’s and C451’s. The bass was recorded via DI, and using an AKG D12, Electrovoice RE20 or NeumannU47. Guitars were recorded using a Neumann U67 and a Shure SM57, recorded without EQ and the final sound being a balance between the two mics. Some of the outboard that was used include compressors like the Urei 1176 blackface and DBX160.
Bassist Colin Greenwood used a 1972 Fender Mustang, and occasionally an Aria bass, going through an Ampeg SVT. Many reports state that a lot of time was spent on getting the right guitar sounds, with different guitars, amps and effects. Nevertheless, guitarist Jonny Greenwood eventually went back to his tried and tested Fender Telecasters. He used two Telecaster Plus models, one with a Tobacco Burst finish the other in Ebony Frost, going through Bluesbreaker and DigiTech Whammy WH1 pedals and a Fender Twin Reverb amp.
Ed O’Brien played a guitar that he had made with the band’s guitar tech, Plank. The guitar was appropriately called the Plank ED1, and his amplifier was a Mesa Boogie. Acoustic guitars were recorded with a Neumann U67 and maybe a Neumann KM84, no DI, but using the API’s EQ.
The band later recognized that Leckie had taught them “how to use the studio, and how to get the best out of our material.” Using the studio as a musical instrument became a major part of their approach. There also was a shift in their song writing, which until then had been more or less the domain of Thom Yorke. On The Bends it became a much more collaborative effort.
In addition, they had worked out a labour division between the three guitar players. Whereas on Pablo Honey the tendency was for all to play similar parts, creating a wall of guitar sound, on The Bends Yorke started focusing more on rhythm guitar, O’Brien on textural, effect-laden parts, and Greenwood on lead guitar. Greenwood also extended his palette to playing keyboards and synthesizers, and writing string arrangements.
CONFIDENCE
The sessions were halted in May and June with the album still incomplete, because the band went on tour, in Spain, Italy, Switzerland, Germany, the UK, Japan, Hong Kong, Australia, and New Zealand. It also appeared at several summer festivals, including Glastonbury and Reading in England, and Roskilde in Denmark.
Radiohead and Leckie, without Godrich, reconvened in July at The Manor, a residential studio with an SSL, located close to Oxford. The sessions at The Manor lasted a mere two weeks, but were extremely productive, because the band had enormously gained in confidence during their world tour, and had worked out new arrangements for many of the songs.
It has been widely reported that “My Iron Lung,” was based on an MTV live recording by Radiohead at the London Astoria, on May 27th, 1994, released on VHS in 1995 and on DVD in 2005 as Live At The Astoria. Leckie explains that it in fact is a combination of live and studio recordings.
Following the Manor sessions, Leckie and Chris Brown went to Abbey Road Studio 3, where they started mixing the album. Reportedly because EMI felt that Leckie was taking too long over the mixes, the company decided to have the songs mixed by Pablo Honey producers Sean Slade and Paul Q. Kolderie. Leckie ended up with a mix credit on just three songs.
The Bends was finally released on March 13, 1995 in the UK, on Parlophone Records, and on April 4 in the US, on Capital Records. Featuring artwork by Stanley Donwood, it was immediately successful in their homeland, spending 160 weeks in the UK album charts and reaching to number 4, but it was much less recognized in the US.
The reviews in the UK also were overwhelmingly positive, with The Guardian writing that Radiohead had “transformed themselves from nondescript guitar-beaters to potential arena-fillers.” Q magazine called the album a “powerful, bruised, majestically desperate record of frighteningly good songs.” And the New Musical Express praised it as “a classic” and “the consummate, all-encompassing, continent-straddling ’90s rock record.”
The Bends put Radiohead on course to become the biggest and most influential rock act in the world. The band itself recognized the album as a “turning point” in their career, and were aware that it had an immediate impact on their contemporaries.
The legacy of The Bends continues to shine. In 2006, it was included in a list of “50 albums that changed music,” that was published in the prestigious British newspaper The Observer. Today, twenty-six years after its release, many regard it as Radiohead’s magnum opus”.
I am finishing off my second anniversary feature of The Bends with this feature from The Quietus. Thirty years after its release, I don’t think we have heard an album quite like it. It is a masterpiece that never gets the sort of love and attention albums like Kid A have. I hope that the thirtieth anniversary of The Bends changes that. For anyone who has not heard the album in a while, make sure you listen to it now:
“The Bends was made as Radiohead first began on this treadmill, and already they wanted off. It was, one suspects, a record upon which they knew they’d stand or fall, informed by everything that preceded it. In many ways, it feels more like a debut album than Pablo Honey – with its mixed bag of strengths – ever did, as though it were the culmination of a lifetime’s work. Second albums are notoriously difficult to make, and by all accounts The Bends suffered a more than troubled gestation, yet it still comes out sounding fully formed, defining them in a way that Pablo Honey by and large failed to do. The privileges and the prejudices, the accolades and the rebukes, their pasts and their presents: all of these and more converged as one, crashing and grinding into each other until they found their place, only to soar off on a new, graceful trajectory. It was the end of a rite of passage.
The songs themselves only need to be recollected here because The Bends became so omnipresent and inescapable, so much a part of the sound of summer and winter 1995, that its overfamiliarity bred a certain degree of fatigue. At the time of its release, however – in the wake of Definitely Maybe and Parklife the previous year – it appeared unusually literate and accomplished, and, in some people’s minds, it towered above everything championed by an over excitable press for years. If they’d been little more the sum of their influences on Pablo Honey, now Radiohead were like no one else at all – like no one apart from Radiohead, that is. Even this was a concept that would soon be demolished: each new record from the band would swerve passionately away from where they’d last paused. They’d reinvent themselves repeatedly, first reshaping alternative rock, then dragging intelligent techno and electronica into the mainstream, before exploiting their well earned, hard won independence by at least attempting to disrupt conditions precipitated by the arrival of the internet.
That was to come, though: in March 1995, they staked their first real claim to greatness with a 49 minute collection of accessibly timeless, visionary songs that may have gathered a little dust since, but which stand up remarkably well. Admittedly, The Bends was only quietly revolutionary: there were no heroics, no ill-suited bursts of attention-grabbing histrionics, merely layer upon layer of intriguing arrangements that demanded repeated plays to unravel. But that mysterious sound of empty space being filled by shimmering guitars at the start of opening track ‘Planet Telex’ now seems prescient: Radiohead were taking up camp in territory few people seemed interested in investigating.
This worked because The Bends‘ lyrics were more elliptical, and the songs more intelligent, than anything they’d ever tried. Indeed, they were smarter that almost anyone in mainstream ‘alternative’ music was trying to be, a far cry from the wilful idiocy and tabloid realms in whose direction every other band seemed to be drunkenly heading. The sonics of the album, too, were polished, yet rarely drew attention to themselves. Yorke’s voice, meanwhile, still seemed to slur from note to note in his quieter moments – though he continued to rage bitterly at other times – but he seemed to be inhabiting the songs rather than testing out a role, whether amid the crunching guitars of the title track or the tender acoustic strums of the heartbreakingly puzzling ‘Fake Plastic Trees’. On ‘Just’, the band might have given in to their American influences, but they still packed the song with colourful fireworks, and ‘Bullet Proof… I Wish I Was’ boasted a haunting, peculiarly English desolation. Then there was the lilting grace of ‘Nice Dream”s strings and Yorke’s impressively feminine falsetto, which gave way to an impressively dramatic flurry of squealing guitars, while, in ‘High And Dry’ and ‘Street Spirit (Fade Out)’, they mapped out a terrain towards which a pack of other songwriters would soon rush: anthemic, gutsy, midpaced songs of unapologetic, but never over-egged, sentiment. Few would ever do it so well”.
On 13th March, it will be thirty years since The Bends was released. A masterful statement from Radiohead, it is the album that launched them to the wider world. In a year defined by Britpop and the war between Blur and Oasis, Radiohead offered something alternative. With a lower-case and capital ‘a’. I have loved this album ever since it came out and do not get bored of it. Influencing artists to this day, The Bends should be held in the highest esteem. It is a majestic album that ranks alongside the…
BEST of the 1990s.