Thom Yorke and Mark Pritchard have been quietly orbiting each other’s creative spheres for over a decade. Pritchard, a revered figure in the world of electronica with three standout albums and a rich back catalogue on Warp Records, brings a wealth of sonic depth.
Yorke, best known as Radiohead’s enigmatic frontman, has carved out an equally compelling solo path through projects like Atoms for Peace and The Smile. Their long-brewing collaboration finally materialises in Tall Tales—a sprawling, genre-defying journey born from an email exchange during the pandemic.
What began as a lockdown idea quickly evolved into something substantial. Yorke reached out to Pritchard for material to work on from home. Pritchard responded with 20 demos, which they passed back and forth, sculpting and reworking until Tall Tales emerged—a bold, textured album that blends ambient, techno, and experimental pop with thematic weight and stylistic finesse.
The opening track, “A Fake in a Faker’s World,” sets the tone with a brooding atmosphere and a sharp commentary on societal disillusionment. “Ice Shelf” sinks deeper into sonic isolation, a chilling soundscape that reflects the album’s recurring themes of solitude and disconnection. The lead single, “Back in the Game,” channels early ‘80s industrial synth vibes—think Black Celebration-era Depeche Mode—making it one of the album’s early highlights.
“The White Cliffs” showcases Yorke’s emotional range, pairing spectral vocals with sparse instrumentation in a meditative moment of introspection. In contrast, “The Spirit” offers a rare glimpse of optimism, lightly echoing the sonic textures of The Bends despite its lack of percussion. It’s a delicate yet powerful performance.
Then there’s “Gangsters”—an 8-bit fever dream that playfully deconstructs techno for the uninitiated—and “This Conversation is Missing Your Voice”, a stunning instrumental built around layered electronics and an urgent call for expression. The title track, “Tall Tales”, revisits the eerie voice collage approach of “Fitter Happier” but updates its existential unease for the modern age.
“Happy Days” is arguably the most divisive cut—chaotic, unpredictable, and intentionally polarising. Love it or loathe it, it’s a risk that demands attention. “The Men Who Dance in Stag’s Head”, inspired by Benjamin Myers’ The Gallows Pole, blends Yorke’s Lou Reed-meets-Dylan delivery with Velvet Underground-style instrumentation. It’s one of the record’s most intriguing narrative moments.
The closing track, “Wandering Genie”, is a wordless, choral experiment that leaves a lasting impression. Yorke stacks harmonies into ghostly, shifting blocks—an ambitious and fitting end to a record that constantly strives to defy expectation.
Tall Tales is a daring and masterful collaboration that showcases both artists at the peak of their experimental powers. For Yorke, it marks his fourth major release in just three years, underscoring a creative renaissance. With Pritchard’s deft production and Yorke’s restless vision, Tall Tales isn’t just a detour—it’s a statement. Rather than resting on their reputations, both artists continue to explore new terrain with boundless curiosity and invention.
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