How can we miss this opus by Ed O’Brien, original member of Radiohead and… a valiant support staffer since the early teenage years of the famous band? Guitarist, backup singer, programmer of gizmos, EOB certainly contributed to the brilliant repertoire of the British band, but was never a crucial actor, the primary creative roles being occupied by Thom Yorke and Jonny Greenwood. And this solo offering will certainly not change that perception. Earth is a pretty cool album, representative of the positions of forty- and fifty-somethings in indie rock, space rock, indie electro, indie folk and indie pop. As with so many popular artists who started out with typical guitar-bass-drum-/keyboard instrumentation, EOB then converted to synths, frequency oscillators, sequencers, and production software. Like all members of Radiohead since the great era of Kid A, the musician evolves in a hybrid world between folk-rock and electronic experience. His reputation on the music planet allowed him to hire the world-famous Flood and Catherine Marks for the production, in addition to drummer Omar Hakim (ex-Weather Report), super bassist Nathan East, folk singer Laura Marling, guitarist Adrian Utley (Portishead), drummer Glenn Kotche (Wilco) and Radiohead colleague Colin Greenwood on bass. Of course, some passages of this album remind us of the famous Oxford quintet, impossible to avoid these subconscious overlaps, but we can’t accuse its creator of deliberately pastiching the manoeuvres of the flagship. In all honesty, Ed O’Brien chooses rather to express his own placidity, his bonhomie, his sensuality, his humanity… without generating any sort of wow by the umpteenth listen. Nice, honest,intelligent, in tune with his time, although conceptually disjointed… not of great interest? For those in search of outstanding music, still driven by Radiohead, it really doesn’t do anything special.
Latest 360 Content
Concert review Rock/Experimental
FIJM 2026: Yoo II Avec Nolan Potter Brings Krautrock Madness to JazzFest
By Stephan Boissonneault
Concert review expérimental / contemporain/Traditional
FIJM 2026 I Tanya Tagaq Summons the Spirits
By Stephan Boissonneault
Interview Jazz
FIJM 2026 | A Love Supreme played straightforward by Isaiah Collier’s Quartet
By Alain Brunet
Concert review Jazz
FIJM 2026 | Kassa Overall Crumbles the Boundary Between Jazz and Hip Hop
By Harry Skinner
Concert review Jazz
FIJM 2026 | Anamaria Oramas Showcases Authentic Colombian Jazz
By Michel Labrecque
Concert review Jazz
FIJM 2026 | The Art of the Perfect Trio at Upstairs with Billy Childs
By Frédéric Cardin
Interview Jazz/Moyen-Orient / Levant / Maghreb
FIJM 2026 | Ibrahim Maalouf All The Way… With Four Pistons!
By Alain Brunet
Interview Jazz
FIJM 2026 | Rachel Therrien in Three Parts: It culminates on July 3 at the Festival
By Michel Labrecque
Concert review Jazz
FIJM 2026 | Kalia Vandever’s Nocturnal Trombone creates the right mood
By Frédéric Cardin
Concert review Jazz
FIJM 2026 | Kind of Blue And A Love Supreme on the Same Bill?… A Supreme Blue… What’s the Connection?
By Alain Brunet
Concert review Jazz






















