How do you tell the story of the radioheads?

How do you tell the story of a band that has been analyzed and dissected by the press as much as by the fans?
Radioheads have always been shy artists, who have always protected their private life, avoiding the clamor of fame and personally choosing always different ways with which to speak to their audience and convey their artistic vision.

Fernando Rennis, to tell the story of the five of Oxford, has chosen a middle ground between that of the fans and that of the most detailed biographer: going to ride the temporal line of the band by making continuous jumps to identify references that explain better from where their art is born and how it has evolved becoming a reference for different generations: from those who have seen them born and grow, to those who have intercepted them in halfway, up to the boys. who listen to the excerpts of their songs as a reels soundtrack on different social networks.

A success that has exceeded the time limits by bringing a song to the ranking, “Let Down” from Ok Computer, published more than twenty -five years ago.
So it is right that the new generations that approach Radiohead have a guide who makes him know the story of this band.

The book, which with an incredible timing came out on the same days of the announcement of the live return of the Radiohead, presents itself, on the cover, with an unpublished illustration created by the Friulian artist Alice Iuri depicting the five with his style that underlines the characteristics of their faces.

“Pop Is Dead” traces the history of the radioheads from the dawn of the “on a Friday” (the first name of the band), up to the present day: Rennis offers a complete picture of how the five have evolved since the times of high school to today, reporting information from different sources: from interviews to blogs managed by the same members of the band. The result is a mixture of bibliographic precision healthy obsession lightened by the love that the same author feels for these artists.

A work that for those who, like me, have grown up by the music of the Radiohead made the hours revive the hours to look for every song to analyze, to find hidden quotations and push me to discover new music, like new books to read.

The author gives meaning to the stimulus that the Radiohead themselves gave to their listening to go beyond mere music, locking in a single book all the information that I have accumulated over the years.
A book recommended certainly both to those who believe they know almost all of the five Oxfordians, so much to those who discover them now.

The author’s analysis on the current situation of Radiohead is also appreciable, a band that is preparing to return to playing live in an atmosphere of waiting and critics for the latest public releases and for the choice to rely on a multinational for the sale of tickets, while in the past they reserved a part of the sale of fans tickets directly from their store.
Surely today’s Radioheads are not the ones who have changed the world of music, communication and musical dissemination, but it is always worth reading this book to understand how five guys from Oxford have launched such an important furrow in history.