Bodysong

1	Moon Trills 5:17
2	Moon Mall 1:12
3	Trench 2:38
4	Iron Swallow 2:07
5	Clockwork Tin Soldiers 3:48
6	Convergence 4:26
7	Nudnik Headache 2:16
8	Peartree 3:06
9	Splitter 3:57
10	Bode Radio/Glass Light/Broken Hearts 4:36
11	24 Hour Charleston 2:39
12	Milky Drops from Heaven 4:44
13	Tehellet 3:40

Barnes & Noble

Taking the conceptual tenor of recent Radiohead discs to the logical next level, the art-rockers' chief sonic architect steps up to the canvas to craft a score intended to accompany the womb-to-grave story line of the acclaimed documentary Bodysong. Shorn of lyrics and conventional song structure, the disc requires a fair amount of effort on the part of listeners but offers up more than its fair share of reward in the process. Bodysong's most intriguing passages are those in which Greenwood shelves his guitar in favor of less-standard instrumentation: "Glass Lights/Broken Heart," one of the prettier, more longing pieces on the disc, adheres pretty closely to modern classical tradition. The Emperor String Quartet lends an elegant tone to that song, as well as to "Iron Swallow." On the other end of the stylistic spectrum, Greenwood tries his hand at fusion jazz, and with the help of flugelhorn player Gerard Presencer, he acquits himself just fine, particularly on the heady "Milky Drops of Heaven." There are swaths of sound that will sound familiar to Radiohead fans -- particularly the moody, martial "Clockwork Tin Soldiers" -- but for the most part, Bodysong is a singular journey on Greenwood's part, a trek that's absorbing enough to merit our tagging along. David Sprague

All Music Guide

The varied sounds of Jonny Greenwood's score for the British documentary Bodysong will come as no surprise to hyper-attentive fans of Radiohead, whether they've devoured every interview with the multi-instrumentalist or have studied every detail of his contributions to that band. Each of these pieces was written and produced by Greenwood, with assistance from Radiohead engineer Graeme Stewart. A string quartet is present on four tracks, drums and horns factor in on two tracks filled with nervous energy, and brother/bandmate Colin Greenwood provides bass on another. Everything else -- a wide assortment of instruments, including electronics -- is handled by the composer. When separated from the film, the music remains a compelling listen. From track to track, the tempos and emotions jerk back and forth with unpredictable unease. Sounds dart as often as they drift, but there's a peculiar linearity at play that keeps the ears hanging on every note. Andy Kellman

Rolling Stone

Rigorously experimental but accessibly atmospheric. Barry Walters