Hot Press' track by track guide to Radiohead's new album The King Of Limbs

The title of Radiohead's eighth studio album The King Of Limbs might refer to a 1,000 year old monster oak in a Wiltshire forest, but it could equally serve as an homage to drummer Phil Selway, whose tightly coiled rhythms – sliced, diced and recombined into fractal patterns that have more to do with the industrial rhythms of Frankfurt and Detroit than whiteboy rock or black funk – determine at least two thirds of the eight-track, 37 minute collection.

1. 'Bloom'
The opener splices Terry Reilly's ice sculpture synth arpeggios with click-hop loops and Low-like Soviet bloc chic. Over all busy-busy anthill industry, Mr. Yorke croons a slow-motion melody that may just constitute a love song. The effect is haunting, disquieting and rather beautiful.

2. 'Morning Mr. Magpie'
Never mind the Beatles-y title: this is closer to David Byrne
territory. "You stole it all/Give it back," Thom sings, in a tone halfway between plaintive and petulant.

3. 'Little By Little'
A walking blues guitar figure, enervated and energised by Afrocentric
horseclops, teacups and coconut shells.

4. 'Feral'
Ladies and gentlemen, we are still floating in Warp-space: 'Feral' contrasts Aphex's sine waves with Asian Extreme overdubs and fluent avant jazz patterns.

5. 'Lotus Flower'
The album's single (don't laugh), 'Lotus Flower' goes even further
into the realms of abstract musique. Expect Krautrock rigidity contrasted with a warm Motown soul vocal, compressed inside a claustrophobic in-your-ear mix.

6. 'Codex'
Iso-cube atmospheres, floating pianos, and an almost Lennon-ish melody fading into pastoral birdsong.

7. 'Give Up the Ghost'
Simplicity itself, pitching Neil Young against late period Beatles and
Final Cut Floyd by way of a simple acoustic guitar and ghostly vocal.

8. 'Seperator'
Disembodied melodies wheel around a scrupulously tidy Selway part and
almost dubby bass line.

All told, The King Of Limbs is minimalist and ensemble-oriented. No showboating vocals, no scalding breaks from Jonny Greenwood, no radical new directions. The record's most strident moments suggest Jeff Buckley and Tom Verlaine remaking Byrne and Eno's My Life In The Bush Of Ghosts for Wire readers. The remainder is sci-fi chamber music as imagined by Kubrick.