Alternative Rock: Radiohead - The Bends (1995)

76 / 100

A significant leap forward from their debut, The Bends cements Radiohead’s identity in alternative rock through refined works.

The music world was still young back then, so Radiohead returned to work on their second album, The Bends.

The Bends was released on March 13, 1995 by Parlophone. It was produced by John Leckie, with additional production by Radiohead, Nigel Godrich, and Jim Warren. The album reached number four on the UK Albums Chart, but failed to build on the success of “Creep” outside the UK, peaking at number 88 on the US Billboard 200. It received more critical acclaim than Pablo Honey, including a nomination for Best British Album at the 1996 Brit Awards, and elevated Radiohead from one-hit wonders to one of Britain’s most recognized bands. It is often cited as one of the greatest albums of all time, appearing on Colin Larkin’s All Time Top 1000 Albums and all three editions of Rolling Stone’s 500 Greatest Albums of All Time. The Bends is credited with influencing a generation of post-Britpop acts such as Coldplay, Muse, and Travis. It has been certified platinum in the US and quadruple platinum in the UK (Wikipedia).

The main identifiable trait in this album is Radiohead’s clearer lean toward alternative rock, with guitar reverb/echo effects replacing the grunge influences of their previous release. Although some say this album is better, I didn’t feel a strong hook in the opener “Planet Telex.” It only clicked for me with “High and Dry,” which plays more emotionally, followed by the flagship track “Fake Plastic Trees.” The melody of that song reminds me of two later songs: Coldplay’s “Yellow” and Nidji’s “Jangan Lupakan.” Perhaps both were inspired by it.

“Bones” starts a transition toward a slightly wilder style with picking reminiscent of AC/DC, then things calm down briefly on “(Nice Dream),” which is suddenly infused with rock and roll licks. This atmosphere continues through “My Iron Lung.” “Bullet Proof ... I Wish I Was” stands out as a ballad that feels more emotional than the main hit, especially thanks to its clean guitar sound. The following tracks return to alternative rock, closing perfectly with “Street Spirit (Fade Out),” enhanced by string-like sounds that heighten its melancholic mood.

Alright, on to my personal opinion and conclusion. Out of the 12 tracks, my favorites are “High and Dry,” “Fake Plastic Trees,” “Bullet Proof ... I Wish I Was,” and “Street Spirit (Fade Out),” with an honorable mention to “Sulk.” There is a clear improvement in quality and listening comfort for me, even if Radiohead didn’t place a strong hook at the beginning of the album.