The post Song of the Week: Thom Yorke Waltzes Through Devastation on “Knife Edge” appeared first on Consequence.
Our weekly column Song of the Week spotlights the greatest new tunes each week. Find these new favorites and more on our Spotify Top Songs playlist, and for other great songs from emerging artists,
check out our Spotify New Sounds playlist. This week, Thom Yorke devastates with “Knife Edge,” taken from his soundtrack for Confidenza.
Inside Thom Yorke, there are two wolves. One of these wolves is ferocious, angry, and in-your-face. This wolf wins through Yorke’s artsy, punky ragers (think “Electioneering,” “2+2=5,” or “You Will Never Work in Television Again”) and skittering electronic beats (most of his solo catalog).
The other wolf is sensitive, overwhelmed with emotion, and perpetually on the verge of tears (I’d list examples, but we’d be here all day). For “Knife Edge,” Yorke lets that sensitive wolf absolutely run wild.
Taken from his soundtrack to Daniele Luchetti’s new film Confidenza, “Knife Edge” is the Radiohead frontman’s latest attempt at crafting a song so sonically devastating it should come with a warning.
A delicate waltz that sounds like it’s coming out of the world’s most beautiful music box, Yorke drapes his signature falsetto over simple piano chords and swirling, reversed synth pads.
As if the sound and composition of the song weren’t moving enough, York sings from a place of pure, dejected desperation.
“You better not be fooling ’round/ Or stringing me along,” he sings more hopeless than accusatory. “This to me is life or death/ And all I think about/ If I were you, I’d run away/ Get out while you still can.”
The track is the Yorke of “True Love Waits”, the Yorke of “Motion Picture Soundtrack,” the Yorke of “Dawn Chorus.” Even devoid of its cinematic context, it cuts like, well, the sharp edge of a knife. All of which is to say, might be best to keep a box of tissues nearby.
Big news for all the drainers out there, Bladee is back with a very, very Bladee-ish album. The production is bonkers, the cover art is bananas, and the dude actually kinda raps his ass off.
“PARANOIA INTRO,” the album’s opener, sets the tone for the cloudy set of tracks to follow. “Not many braincells left but I’m ready for/ I play this game like chess,” the artist raps over airy synths and a sample of what sounds like the laugh from Michael Jackson’s “Thriller.” Me too, Bladee, me too. — J. Krueger
As their contribution to The Flenser’s tribute album to slowcore greats Low, Have a Nice Life decided to tackle The Great Destroyer cut “When I Go Deaf.”
It’s a pick that makes sense, as the original’s wild dynamic shift from acoustic beauty to fuzzy catharsis is a trick Have a Nice Life have themselves perfected.
Even still, Have a Nice Life take the tune in a new direction, extending the song’s length and reframing it as colder, more synthetic, and (in the back end) even noisier.
Like the best covers, it understands the power of the original while incorporating their own idiosyncrasies. — J. Krueger
After a strong detour into dance-pop, Mabel is back to her R&B roots with her latest release, “Vitamins.” It’s quickly clear that Tommy,
a producer who’s worked with Victoria Monet and Ariana Grande, was in the studio for this one — “Vitamins” coasts along in the easy, breezy way that feels especially characteristic of Monet.
Hopefully, this track is teasing a full R&B era from the artist, because her voice is perfectly suited for the vibe. — M. Siroky
Instrumental dance-rock band Los Bitchos stuck the landing on their latest genre-bending release, an explosive, high-energy track that manages to invoke disco, rock, and synth-pop in a way that feels cohesive.
“La Bomba” is the band’s first new material since their 2022 debut, Let the Festivities Begin!, and the song succeeds in kicking off their next chapter with a thrilling bang. — M. Siroky
