How long does it take to “get” an album?
Inside of every critic there is a regretful fan struggling against the permanence of publicly stated professional opinions. For all the differences that supposedly exist between critics and “regular people,” the only one that really matters is that critics are required by paycheck to take a snapshot of their feelings about a particular piece of art at a particular moment in time, and then pretend that this is how they will feel forever. In reality, there’s always that one review (only one if you’re lucky) you’d write differently with the benefit of hindsight. Personally speaking, I’m grateful that most of the publications I wrote for before The A.V. Club are either defunct or have bad search engines. I have opinions from my past that I’d cross the street to avoid being associated with.
One review I’m fine standing behind is my take on Radiohead’s The King Of Limbs, which was turned in three days after the record was released on Friday, Feb. 18, and posted on The A.V. Club just eight days after the album’s existence was announced to the world via the band’s website. Even with the quick turnaround, my Kings Of Limbs review lagged behind the discussion that raged online in social and professional media seemingly from the very moment download codes starting appearing in the inboxes of Radiohead fans. Coverage of The King Of Limbs played out like breaking news—by the end of the day Friday, after tens of thousands of people had already given their yays or nays on the record on Facebook and Twitter, reviews started appearing in major publications like Esquire and NME. Regardless of whether the evaluations were positive or negative, it was incredible to me that so many people had already formulated opinions they felt comfortable putting out there for public consumption. Had they really given enough time to The King Of Limbs to truly “get” the album?
As both a music fan and a critic, I’m naturally of two minds on this question. As a fan, I have gut reactions like anybody else, and I’m just as liable to shoot my mouth off on an artist I might have only given a moment’s notice. The proliferation of social media didn’t invent this kind of casual acceptance or dismissal—it merely allowed people to broadcast it to whoever might be paying attention. So, while it might annoy me as a Radiohead fan when somebody “mehs” The King Of Limbs after only playing it once, I recognize that I do this all the time with artists plenty of other people take seriously. Likewise, I’ve enthused about an album on Twitter after only hearing a couple of songs, only to demur a week or so later after several more listens.
Your opinions as a music fan tend to be instinctual and emotional—in contrast to the self-conscious, intellectual aesthetics of the critic—and you’re under no obligations to justify them beyond your own whims. Besides, there’s a lot of music out there; it can seem like a chore to spend extra time with something that seems unappealing at first contact when there are so many other choices. But one of the many great things about being a music fan is that you have an open invitation to revisit any artist whenever you feel like it; somebody that didn’t strike your fancy today might end up being a new obsession a year from now.
Gut reactions only become a problem when people convince themselves that a cursory listen renders any further investigation moot. This is especially fatal for an album like The King Of Limbs, a purposefully difficult listen that takes time to ingratiate itself. The rewards are considerable for patient listeners, but there are more obstacles than ever preventing listeners from engaging with the sorts of “grower” records that Radiohead has banked its career on. This includes (I fear) the echo-chamber of social media, a forum better suited for glibness than thoughtfulness, where directing a tossed-off zinger at a popular institution like Radiohead is considered fresher and funnier than singing the same old praises.
Don’t worry—I’m not about to launch into another tired screed about “the death of the album” or the short attention spans of the iTunes generation. If anybody has an audience that’s still willing to put in the time to make sense of a curveball like The King Of Limbs, it’s the band that actually put out The King Of Limbs. As New York magazine pop music critic Nitsuh Abebe wrote of Radiohead last week:
No other band makes so many fans turn quite so studiously patient and open-minded. It’s as if the world has agreed that this is the one flagship group everyone will turn to for that experience—the band people will enjoy taking seriously, approaching slowly, and pondering as art rather than entertainment. The whole concept of “serious listening” has somehow become this one act’s brand. How improbable is that?