The album is also available on iTunes and Apple Music and TIDAL. (Google Play originally put the album on sale over an hour before the previously-announced 7 p.m. BST release time, but it was quickly taken down.)

Several songs on the album have made their way to the public before today. The album features ¡°True Love Waits,¡± which they've performed many times over the years, but never recorded outside of their 2001 live EP I Might Be Wrong. Thom Yorke performed ¡°Desert Island Disk¡± during a Paris show last year. ¡°Present Tense¡± was also performed at December's climate change concert, and it dates back to 2008. ¡°The Numbers¡± is another song Yorke performed in December¡ªit was then referred to as ¡°Silent Spring.¡± Radiohead debuted ¡°Identikit¡± and ¡°Ful Stop¡± on tour in 2012.

A new Radiohead album in the world brings the requisite hosannahs and hatred we see with every Radiohead release.
So I and some friends have assembled the following BINGO card to help you keep track of the fan reaction to LP9

"This sounds just like Coldplay/Muse/Travis and I hate it"
"This doesn't sound anywhere nearly enough like Coldplay/Muse/Travis and I hate it"
"This album didn't have the visceral effect "Creep" had on me when I was 17 and still had all my hair, and I personally blame Radiohead for that"
"Sam Smith is so much more relevant to who we are in 2016 than Radiohead"
"ONLY 4 STARS??? MY CURSE SHALL LIE UPON YOUR DESCENDANTS FOR 7X7 GENERATIONS"

• I regret listening to "Burn the Witch" and "Daydreaming" before the full album dropped. They're great tracks -- the smoldering production of BTW's title drops, Daydreaming's pretty bell synths, the rich strings throughout both -- but now I have a hard time not mentally separating them from the rest of the album.
• "Decks Dark" is so fucking cool. Those impossibly fast piano jitters are a nice intro, but when that resoundingly syncopated honky-tonk piano and ghost choir dropped in I fell, hard. That whole middle section weaving the two into a groovy funk throughout Thom's pointed lyrics ("You gotta be kidding me... [bum bu-bum bum bum] the grass grows over me..."), that's easily become a top-10 moment for me. And I love how the whole track feels like an ominous update to "Subterranean Homesick Alien." Back then, the narrator longed for aliens to swoop down and rescue him from this cynical world, but in this track they've arrived and they're TERRIFYING. Be careful what you wish for, Thom.
• I've seen a lot of folks calling "Desert Island Disc" the weakest track on the record, but I don't see it at all. The intro is the most appealing acoustic work I've heard from them since "Gagging Order", and the lilting lyrics are some of the album's best -- so serene and spiritually uplifting. "Born of a light... with my spirit wide... totally alive... totally rele-e-e-eased..." You can practically hear the smile behind "Across a stree-ee-eet... to another life." And the gentle undercurrent of background sonics, like electric windchimes billowed into motion by the music -- so good.
• "Full Stop" is a grower, very reminiscent of the ominous Kid A era. Vocals are a little strange, almost Bowie-esque. The recurring electronic siren song in the background was nagging me for the longest time till I remembered Viacom's "V of Doom" logo (previously). Maybe it made an impression at a young age? (Or Vangelis, sure, but this funnier).
• The intro to "Glass Eyes" is so nice, with that weirdly bubbly underwater effect. Those Jonny strings are so syrupy sweet, and the contrast with the heartbreaking lyrics has strong echoes of "Motion Picture Soundtrack." Almost understays its welcome.
• I'd avoided "Identikit" along with all the other new songs they teased -- it definitely wasn't what I was expected. But once the groove clicks, it's crazy catchy. And I love the sudden break into "BROKEN HEARTS MAKE IT RAAAAAIIIINN" with the ghost choir reprise -- interesting double-edged lyrics there, btw. Jonny's wild guitar solo just makes it. Intriguing note: the track opens with a title drop -- it's indistinct, but says something like "Moon-shaped pool, dense and cold, you love me, and I wanna know it's never goin' away, no way." Also, I'm curious about the meaning of the track title -- real-life police identikits are pretty eerie looking.
• "The Numbers" is the one track I still don't really love, and my least favorite. The string arrangements are stirring as usual, but the lyrics verge on cringeworthy. It's way more upbeat and earnest than most of their more political songs, and traffics in cliches like "we call upon the people" and "the system is a lie." Not that they can't make optimism work (I love "Worrywort" and "Airbag"), and earnest politics works when it's more ambiguous, like in "Go To Sleep." But it's just way too on the nose here.
• "Present Tense" was very much out of left field with its romantic Latin flair, but turns out to be one of the most beautiful and heartfelt tracks on the album. Still not sure about the weirdly echoed vocals, but that "In you I'm lost" repeated throughout the outro is surprisingly sweet and disarming.
• I didn't get "Tinker Tailor" at first, but the lyrics give it real punch. I read a strong environmentalist message into it -- while we pillage the planet, all the creatures of the earth ("the ones you light your fires to keep away") slink away, hunted, dying, telling their loved ones "honey, come to me before it's too late." The string crescendo really makes me wish they'd figured out a way to fit "Spectre" into the tracklist instead of releasing it independently.
• I've always liked the live version of "True Love Waits", so the minimalist piano version really surprised me. But I think it works -- something about the vocal treatment gives it an otherwordly, ethereal, almost elegiac quality the old takes lacked. Especially affecting given much of the album was influenced by Yorke's break-up with his partner of 23 years (a relationship about as old as the song itself).

The Numbers - Desert Island Disc - Identikit