Radiohead “Hail to the Thief” (Capitol)

Compare to: Sigur Ros, Coldplay, The White Stripes

Rating: 8

“Hail to the Thief,” Radiohead’s sixth studio album, is undeniable proof of this band’s pure talent. This record presents an aura of sophisticated worldliness that encompasses Radiohead’s vast array of musical talents.

This album has detached itself from the electronic-inclination of “Kid A” and “Amnesiac.” I was very pleased with the delicate balance between dreamlike electronic sounds and the distinct band-like quality contained in this exquisite piece of musical artwork.

Upon hearing the first track, I was immediately awakened by intensity and sweetness that can only exist in Thom Yorke’s velvety voice. I was able to feel the onset of a strong and extremely refined collection of music.

The intricate delicacy of sound that is distinctly Radiohead is unmistakable in nearly all of this CD. This distinction is especially prominent in the second and fourth tracks of this CD, entitled “Sit down. Stand up.” and “Backdrifts,” respectively. The depth that exists in these songs is just amazing as well as quite entrancing.

Other songs on “Hail to the Thief” are more rock-oriented, yet still contain the atmospheric feeling that Radiohead’s music almost always seems to create. “There there,” the first single for this CD, and “Go to Sleep” are excellent examples of this.

I found the swirling guitar combined with Yorke’s mumbly and melodic voice to be reminiscent of Radiohead’s earlier work, especially like “OK Computer.”

With “Hail to the Thief,” Radiohead has accomplished yet another musical masterpiece. The product this album illustrates is the evolution of pure musical genius.

— Annie Krumhard

Various Artists “28 Days Later” (Beggars XI Recording)

Compare to: Cliff Martinez, Elliot Goldenthal, Michael Brook

Rating: 5

The soundtrack compilation to Danny Boyle’s zombie horror flick “28 Days Later” may prove to be more effective once the movie, which opens June 28, is released. This way the numerous weird and annoying pieces of the musical score, composed by John Murphy, may make more sense — and the joy of listening to it will remind its listener of those eerie moments of the movie.

Murphy’s score, which is largely a mixture of industrial noise and generic instrumental mood music is the orchestral composition of a migraine rather than a piece of score. The score is reminiscent of better soundtracks of its type, such as “Heat” and “The Insider.”

This music may be quite probing in the context of the movie (which I’m sure it is—the music is scary as hell), but as far as putting the recording into a CD player for an afternoon’s listening, I’d stay away.

“28 Days Later” also contains music not written specifically for it. “In Paradisium,” composed by Gabriel Faure, is used so much in movies it has become clich‚. Being used in such films as the 1995 “Silence of the Lambs” rip-off “Copycat” and arguably the best film of 1998, “The Thin Red Line.”

Also used is “An Ending,” performed by techno genius Brian Eno, which was also heard in the closing credits of “Traffic.”

By and large, the usage of its weird compositions and the appearance of songs that have been memorably used in recent great films makes “28 Days Later” a curious effort, spawning a high anticipation for the filmed product.

Unfortunately, it comes down to this: Listen to the soundtracks from the aforementioned films, but skip this one.

— Ryan Curell

Third Eye Blind “Out of the Vein” (Elektra/Asylum)

Compare to: Goo Goo Dolls, Matchbox 20, Ben Folds

Rating: 7

The new Third Eye Blind release “Out of the Vein” has some promise but is nothing like their previous albums.

They are often compared with Goo Goo Dolls, Matchbox 20 and Ben Folds, but this album sets them apart from others.

The recording is full of the band’s soul-searching they have done in the past three years.

“Out of the Vein” begins with “Enticing,” a song that does exactly what its title implies. It begins with the same repetitive guitar chords, eventually breaking into a massive pandemonium of musical explosion. This song immediately made me want to listen closer and ask what else there was in store for me as the album continued on.

“Out of the Vein” is not an entirely upbeat album. There are a few songs that don’t follow the norm of today’s music.

“Crystal Baller” is one of those songs. It starts out very softly, but grows into a loud, hypnotic tone that made me want to sing along or tap my toes to the beat.

My overall favorite song on the recording is “Self Righteous.”

This song starts out with a girl singing as the lead vocalist, Stephan Jenkins, eases into a soothing father-like tone.

He implores his powerful vocals into the song, going on for a number of minutes with the same message that “everyone is self righteous.”

The lyrics often don’t make sense, but the magical musical background of “Out of the Vein” makes up for it — though if you’re seeking the sounds of the old Third Eye Blind, then “Out of the Vein” may not be for you.

— Xiomara Levsen

Michael Buble “Michael Buble” (143 Records/Reprise)

Compare to: Frank Sinatra, Harry Connick Jr., Elvis Presley

Rating: 4

Michael Buble has created an album that is almost desolately bare of any originality whatsoever. His lack of creative insight is extremely evident in this self-titled CD that is just plain boring.

The main problem with Buble is that he appears to be a copycat. In a large majority of his songs, he sounds far too much like Frank Sinatra to be coincidental. In addition, I was able to draw an immediate instrumental similarity to Harry Connick, Jr.

Buble begins his escapade of over-covered music with the seductively classic tune, “Fever.” Although this song is quite alluring in itself, Buble does not seem to have attempted to bring any of his own intensity into it. It simply sounds like something any lounge singer could have recorded.

I found this lounge-singing theme to be consistent throughout much of album. He easily illustrates this point with old standards like “For Once In My Life” and “Summer Wind.”

The banality continues with Buble’s versions of a few golden oldies such as “Crazy Little Thing Called Love,” “Put Your Head On My Shoulder” and “The Way You Look Tonight.” These tracks are undeniably catchy and easy-listening. However, like the rest of this album, these songs just need a little more personal enthusiasm and energy.

Buble wraps up his record with the slow, calming tune, “That’s All,” which reinforces his tendency for predictability.

The obvious and trite nature of Buble’s CD has resulted in an unimpressive display of over-recorded music that is quite uninteresting. He has clear talent in his singing ability, but does not utilize artistic expression. His consistent lack of individuality taints this album as a whole.

— Annie Krumhardt