Ed O’Brien’s 'Incantations': A Hypnotic Departure or a Return to Roots?
There’s something about Ed O’Brien’s latest offering, Incantations, that feels both familiar and utterly alien. As a longtime Radiohead fan, I’ve grown accustomed to the band’s members venturing into solo territories that either echo their collective sound or diverge wildly. With Incantations, O’Brien seems to be doing both—and it’s this duality that makes the track so compelling.
The Sound: A Psych-Folk Odyssey
Described as ‘eight minutes of hypnotic psych-folk,’ Incantations is a departure from the electronic and experimental leanings of Radiohead’s later work. But what strikes me most is how O’Brien’s vocals anchor the track. They’re described as ‘rustling like leaves in the Welsh countryside,’ which is a poetic way of saying they’re both delicate and haunting. Personally, I think this is O’Brien’s most vulnerable vocal performance to date. It’s as if he’s stripped away the layers of Radiohead’s sonic complexity to reveal something raw and intimate.
What makes this particularly fascinating is how the track’s latticework of radiant guitars, courtesy of Dave Okumu, creates a sense of expansiveness. It’s not just a song; it’s an atmosphere. If you take a step back and think about it, this is O’Brien’s way of reclaiming his identity outside of Radiohead. He’s not just a guitarist anymore—he’s a storyteller, and Incantations is his most vivid tale yet.
The Album: Blue Morpho and Its Ambitions
Blue Morpho, the album from which Incantations is taken, feels like a culmination of O’Brien’s artistic journey. Set for release on May 22nd, it’s an album that promises to be as beguiling as its title suggests. But here’s the thing: O’Brien isn’t just releasing an album; he’s creating an experience. His upcoming European tour, ‘An Evening With…Blue Morpho,’ is billed as a ‘fluid and immersive celebration of the music.’
One thing that immediately stands out is the inspiration behind the tour—artists like Sly and the Family Stone, Miles Davis, and Phish. These are names that evoke a sense of improvisation and exploration, which is a far cry from Radiohead’s meticulously crafted performances. In my opinion, this is O’Brien’s way of breaking free from the expectations that come with being a member of one of the most influential bands of the last three decades.
The Broader Context: Radiohead’s Shadow and Solo Ventures
What many people don’t realize is how challenging it must be for Radiohead members to carve out their own identities. Thom Yorke’s solo work and Jonny Greenwood’s film scores have both been critically acclaimed, but they’re still often discussed in relation to the band. O’Brien’s Blue Morpho feels different. It’s not just a solo album; it’s a statement.
A detail that I find especially interesting is the timing of this release. Coming on the heels of Radiohead’s reunion tour, Blue Morpho could easily have been overshadowed. Instead, O’Brien has managed to create something that stands on its own. This raises a deeper question: Can an artist ever truly escape the shadow of their most famous work? Or is that shadow, in fact, a canvas for new exploration?
The Tour: A European Exclusive
The seven-date European tour is a bold move. Exclusivity always creates a sense of urgency, and O’Brien seems to be leveraging that. But what this really suggests is that he’s not just catering to the masses; he’s creating something for the devoted. The venues—from Amsterdam’s Royal Theatre Carre to London’s Barbican—are intimate spaces that promise a close encounter with the music.
From my perspective, this tour is as much about connection as it is about performance. O’Brien isn’t just playing songs; he’s inviting audiences into his world. And that, I think, is the mark of a true artist.
**Final Thoughts: Amas-
