Radiohead | B

What can be said about The King of Limbs that hasn't already been agonizingly analyzed and dissected on fan sites and message boards? Mere days after its release, the eighth full-length release from perpetual game-changers Radiohead caused quite a stir among the band's vast fan base. The album has immediately become the band's most polarizing record since their 2000 masterpiece Kid A. At 37 minutes, it is the shortest album in the group's catalog and also one of the most difficult to digest. It will likely take multiple listens to fully appreciate the record's dark experimentalism and abstract beauty.

The King of Limbs delves into more electronic arrangements reminiscent of Kid A and 2001's Amnesiac. The anxiety-ridden first half features fast-paced, frenetic atmospheres of controlled chaos on the spacious opener "Bloom," "Morning Mr. Magpie" and the dubstep-influenced "Feral." Yet, some songs like "Little By Little" sound lazy and uninspired.

Dominated by softer, slower ballads, the second half of the album feels miles apart from the album's initial anxiety. The boundless piano, naturalistic imagery and poignant vocals of Thom Yorke on the gorgeous "Codex" recall Amnesiac's "Pyramid Song." "Give Up the Ghost" is a beautifully tender highlight that combines sparse acoustic guitar and sonic touches with Yorke's looped falsetto to create a woodsy ambiance evocative of Bon Iver.

The album's primary issues are the lack of strong melodies and dynamics. Radiohead focuses on rhythm to such a point that melodies are sacrificed. Additionally, there is no real buildup as the band, with the exception of drummer Phil Selway, performs with an almost irritatingly persistent restraint.

It is impossible to skim the surface with a band like Radiohead. Though imperfect and challenging, consistent listening will reveal unheard intricacies and, consequently, newfound appreciation. Though likely unappealing to new listeners, avid fans are sure to excruciatingly pour over every detail and will come to realize the record's understated splendor. A particular hint of more to come can be found in album closer "Separator," where Yorke enigmatically proclaims, "If you think this is over, then you're wrong." One can only hope.