Radiohead frontman delves into horror on mercurial soundtrack.
If you’re in need of a horror film soundtrack, it seems like the spooky Radiohead man has just what it takes.
THOM YORKE SUSPIRIA XL, OUT 26 OCTOBER
The listening party for Thom Yorke’s debut film soundtrack, Suspiria, convened last month beneath Clerkenwell Prison, a candlelit dungeon with projections dancing across the walls. Nobody had yet seen Luca Guadagnino’s remake of Dario Argento’s horror classic, and it mattered little. Who better to score an unseen supernatural flick than the abstruse Radiohead frontman, whose songwriting domain is nebulous threats, vague nightmares and a sense of impending fright? Yorke’s trademark paranoia finds new dimensions on this impressive soundtrack album. How his distinctive melancholia will blend in on screen remains to be seen, but, as a stand-alone album, Suspiria works marvels. Skeletal lullabies weave around mangled synth fantasias, ancientsounding chants and fingerpicked daydreams. The handful of sung compositions rank alongside Harrowdown Hill and The Eraser as his finest solo work. It can be viscerally disturbing, too. The Hooks decorates a cursed piano motif with strings concealing horrors: muffled groans, scurrying feet, the swoop and squelch of a blade puncturing flesh. Spooked hymns such as Has Ended conjure the souls of lost Radiohead B-sides and obscurities, while the electronic skits evoke outsider artists Lotic and James Holden. At its best – Suspirium Finale and Unmade, a haunted pair of major-key ballads – you’re reminded of Yorke’s eminent skill: a fluency in dark, otherworldly romance that makes the alien sound familiar. ★★★★
Listen To: Suspirium Finale | Unmade | Olga’s Destruction | The Hooks
How his distinctive melancholia will blend in on screen remains to be seen, but, as a stand-alone album, Suspiria works marvels.
Radiohead’s Thom Yorke: “fluent in dark, otherworldly romance.”