by Mark Pritchard and Thom Yorke

To hear two of experimental music’s biggest innovators come together in rare form feels like a gift to the universe that couldn’t be more timely. 

Back in 2015, Thom Yorke and Mark Pritchard teamed up for a song titled “Beautiful People,” and I was swooned. Both the music and the accompanying video for it were otherworldly. I thought, “It’s a shame they only did a track together. Imagine what a whole album would sound like."

Sometimes dreams really do come true. 

We go straight to the sources here at tmrw, and according to one of Thom’s Instagram posts this project began during lockdown when Mark sent Thom a folder of ideas he had, and the two got right down to work. Independently, Pritchard and Yorke are two of music’s hardest working individuals. Between the two of them, they’ve got a mile long discography, but their collaboration sounds like a fresh and innovative mix of what they both do best.

Beginning Tall Tales with the eight minute journey of “A Fake in a Faker’s World” puts the listener into the deep end of the Twilight Zone as the movements and tracks flow as seamlessly as Yorke’s soundtrack work while the production is as flawless and captivating as anything Pritchard has done before. 

Serving as the perfect example of how the duo can host an impressive number of revolving textures while still maintaining a solid groove and minimalist feel, “Back in the Game” feels like a rollercoaster of a fever dream… in a good way. 

The track has an unconventional funkiness to it that gently drifts into the more somber tune, “The White Cliffs.” It stops me in my tracks every time as I ask: Is that an Omnichord? It’s a context I’ve never heard the electro-chord machine in before which makes me second guess myself, but it really sounds like the distinct strums of one of the retro units in a new light. Repurposed sounds add to the vibrant and playfully imaginative feel of Tall Tales. 

As I listen, I couldn’t help but mentally dividing the album into two distinct acts, with the first act being driven by rhythm and space (can you even drive something with space?!). The second act feels much more driven by melodies. For those who love Thom’s music but don’t always gel with electronic music, starting with “The Spirit,” may change your perception of the collection. Its tender melody and arpeggiated twinkles set the stage for some of the more intimate and delicate songs. 

“Happy Days” is the one exception to that. The uptempo marching snare loop is joined by a muted offbeat piano to create the scariest, most surreal carnival soundtrack. Scattered voices join for a cult-like parade chant throughout. It’s both creepy and exhilarating, and I can feel myself getting sucked into the foggy, abandoned fairgrounds as I get lost in the album. 

The beginning of the end starts with the penultimate track, “The Men Who Dance in Stag’s Heads,” and genuinely sounds like Thom Yorke joined The Velvet Underground. It’s a combination I’d never thought of, but it sounds fantastic and leaves me grinning time after time. How could that possibly fit into a prominently electronic-textured album? I don’t know, but it does. Honestly, the song feels like a recording snagged from an alternate dimension. 

To hear two of experimental music’s biggest innovators come together in rare form feels like a gift to the universe that couldn’t be more timely. Don’t let this one fly under your radar because the effort put in to making this album as dreamlike and adventurous as it could be is palpable. Much of the promo material for Tall Tales billed it as “The debut collaboration of Mark Pritchard and Thom Yorke,” which I hope means there will be more to come.

The two of them make a fantastic team, and while they’re both some of the busiest people in the industry, they’ve found a beautiful synergy together in telling tall tales.