The Same Things at The Same Time - 'The Eraser' turns ten
On the desktop of the computer, I keep two ‘sticky notes’
running—one of which is a list of new album releases that I am considering
writing reviews for; the other, which is kind of lengthy right now, is a
running list of albums that are celebrating milestone anniversaries—usually
either ten, or twenty years.
Recently my wife saw my lists and let out an audible “UGH,”
following it up with, “God, The Eraser
really came out ten years ago? FUCK we’re old.”
Yes, it’s true. Thom Yorke’s first solo foray officially
arrived into this world in July 2006, but prior to that, it leaked online at
the end of May, and yes, I remember combing old Radiohead message boards
looking for links to download the leaked version onto my antiquated IBM
Thinkpad, running Windows ’98.
And I specifically remember one terribly clever user of one
of those boards providing a link, but called it the ‘laked’ version of the
album; a reference to the “One little
leak becomes a lake” lyric found within. Why this minor detail has stuck with
me for a decade, I do not understand.
While The Eraser
is dubbed a solo effort, many of the samples it is created around stem from
instrumental Radiohead tracks: the opening piano chords of the title track are
chopped up bits from music Johnny Greenwood gave to Yorke, “Black Swan” is
structured from a rhythm originally recorded by Ed O’Brien and Phil Selway, and
“And It Rained All Night” features a completed Radiohead song, ‘The Gloaming,”
just shredded to bits.
The Eraser also
arrived at a weird time for Yorke and the rest of Radiohead. Following three
years of inactivity, the band was touring in 2006, road testing new material
that would eventually be recorded and released as In Rainbows. Yorke himself, at the time anyway, did little to
promote The Eraser, save for
releasing a few of the tracks as singles.
It’s also worth noting this is the only Radiohead related
effort to feature an ‘Advisory Lyrics’ sticker on the front, thanks to the
repeated “This is fucked up,” in
“Black Swan.”
As an album, at the time, he referred to it as “one lean
motherfucker,” meaning that at a sparse nine tracks, all the fat or excess had
been trimmed away—something he regretted not doing on the somewhat bloated 2003
Radiohead album Hail to The Thief.
And yes, there were b-sides or leftovers from The Eraser sessions, and when they were included on singles, and
eventually released in their own collection called Splitting Feathers, you could tell why they had been left on the
cutting room floor.
Ten years later, a bulk of The Eraser still works—the title track alone will always be one of
the album’s finest tracks and probably one of Yorke’s best—with or without the
rest of the band. The melancholic, reflective “Atoms For Peace” is also a
standout, as well as the pensive, marginally ominous closer “Cymbal Rush,” a
song that Yorke had debuted earlier in 2006, performed alongside Johnny
Greenwood in a paired down arrangement.
Even at only nine tracks, The Eraser is still a pretty dense affair. There’s a lot going on
in these songs, thanks in part to Yorke’s interest in electronic music. And
throughout the album, it becomes more and more difficult to tell what is a live
instrument, or what is a sample of an instrument. As a whole, even when it
slows itself down, the overall atmosphere of the record is terribly frenetic,
bordering into chaotic at times—the low, dramatic sweeping of “Analyse,” and
continues through the dark “Harrowdown Hill” and into the pulsing abandon “And
It Rained All Night.”
They were songs with, at the time, had a sense of urgency,
especially the politically, dark “Harrowdown Hill,” and ten years later, that
sense of urgency really hasn’t waned.
As a whole, for the most part, The Eraser has aged relatively well—despite its glitchy, nervy tendencies,
“Skip Divided” was never the album’s strongest moment, particularly because of
its groan inducing lyrics—“I’m a dog, I’m
a dog, I’m your lapdog,” Yorke
mumbles while the minimalistic beat twitches behind him; the same could be said
for some of the lyrics on “And It Rained All Night,” but I can forgive because
it’s so easy to get lost in the moment with song’s energy.
A decade later, what is the lasting result, if anything of The Eraser? It was never really meant to
establish Yorke as a “solo artist” per se, but it did allow him to build a
small body of work outside of his band—in order to play songs of the album
live, three years after its release, he formed a “super group” with Flea from
the Red Hot Chili Peppers, named Atoms For Peace; they later released an Eraser-meets
Afro-beat album, Amok, at the beginning of 2013 and toured in support of it.
He released a second, even more atmospheric and dense—and
exponentially less accessible—solo album, Tomorrow’s Modern Boxes, in the fall of 2014, which served as a bit of a last hurrah
before he got down to business with the rest of Radiohead to begin work on what
would become A Moon Shaped Pool.
It’s not an album I revisit regularly, but when I do listen
to it, it is still an enjoyable an at times a fun listen; however, when I think
about The Eraser, it’s more of the
nostalgia for the time surrounding its release that comes along with it, and is
slightly more potent than the music itself.
I was 22 going on 23, and my wife and I had just moved into
our first apartment together. It was a different time, one that doesn’t seem
like it should be 10 years removed, but it is—the afternoons spent playing The Eraser from the Windows Media
Player, using an auxiliary cord to run it into my old stereo until the CD
itself actually came out; then, the next year, purchasing it on vinyl.
When I turned 25, I got my first tattoo—a Radiohead tattoo
of the crying minotaur image that they used heavily during the Amnesiac period of time; six months
later I got another Radiohead-themed tattoo, the man from the cover art of The Eraser. Placed on the inside of my
right arm, it would be another four years before I got around to finishing
it—getting a large section of the waves he’s holding back inked into the inside
of my left.
I didn’t get them because, like, The Eraser changed my life or anything—Radiohead, as a whole, did.
But I got them because I was a fan of the artwork by Stanley Donwood, and also
I guess because I thought such a drastic undertaking would be impressive to
have as a representation of my devotion to the band that I owe so much to.
So even long after the final notes of “Cymbal Rush” finish
skittering, I’m still connected to The
Eraser through the ink in my skin, and, less impressively, by the large
poster we have framed, hanging in our living room—obtained from the record
store that used to be in our town, which, much like revisiting the record
itself on its tenth anniversary, is more about nostalgia than it is anything
else.
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