By Anthony Bromberg
Daily Bruin Senior Staff
Some albums, say Radiohead’s “Ok Computer,”
beg being listened to as a whole work of art. Still, it’s not
often that music fans get to hear one of their favorite albums
performed live, straight through in its entirety.
The lucky patrons of the Hollywood club Largo, however, got just
that chance Saturday night. The string quartet known as The Section
performed their interpretation of the seminal ’90s
masterpiece “Ok Computer.” This version, arranged by
UCLA graduate Eric Gorfain, is aptly titled “Strung Out on Ok
Computer.” Radiohead are the latest band to get a classical
makeover in the series of Gorfain’s “Strung Out”
projects, which also include reworkings of U2 and Tool. The live
“Strung Out on Ok Computer” was a wonderful musical
experience.
Largo’s small, dark, interior provided a homey, genuine,
artsy, acoustic setting. The square room was candlelit, save for
white and red lights over the slightly elevated stage in one
corner, and the dimly lit crowded bar in the back. Every table and
bar stool was full, with the minimal standing room in front of the
bar occupied by younger fans prone to swaying. At around 9:30 p.m.
with the aroma of barbecue chicken in the air, four unassuming,
darkly dressed musicians walked onto Largo’s stage.
As The Section set up its two violins, viola and cello, and
proceeded to take out their “Ok Computer” sheet music,
the crowd at the bar slash restaurant began to quiet. With all eyes
focused on the artists sitting only a few feet away, under the
green Celtic symbol that loomed on the wall behind the stage, the
powerful opening chords of “Airbag” started emanating
““ not from Johnny Greenwood’s enchanted guitar, but
from a viola.
Gorfain’s violin then kicked in where Thom Yorke’s
vocal would have been and the music was on its way towards being
born again. With the four string instruments alternately providing
the vocal lines, guitar lines, piano lines and other various
instrument lines the boys of Radiohead usually incorporate, the
emotions of the music stayed remarkably close to the original.
The Section’s “Climbing up the Walls” was,
maybe, even more haunting than the original version.
“Subterranean Homesick Alien” was incredibly gorgeous
as the quartet recreated the soaring guitar parts and
otherworldliness. “Paranoid Android” still rocked, with
Gorfain’s violin hitting the manic guitar solo masterfully.
“Karma Police” was a highlight.
“Electioneering” rocked along.
“The Tourist” was, as always, a fitting way to close
the show, with the finality of the closing notes just as fitting in
strings as they are in piano and guitar.
The crowd was into the music from beginning to end, emphasized
by the one moment when a woman decided to be loud during the
performance and was immediately shushed from all sides.
The only drawback to the string interpretation was exposed on
“Fitter Happier.” The song, which is known for its
distorted talking vocals, was performed more as an interlude than a
complete piece. Granted, it was admirable that The Section
attempted to tackle “Fitter Happier,” but it felt
incomplete compared to the rest of the performance.
This inadequacy, however, highlighted the superb manner in which
the rest of the night was pulled off.
The music was powerful and beautiful. The use of the string
quartet arrangements quickly dispelled the notion that
Radiohead’s music is too intentionally abstract. The
reduction of noise served to remind everyone of the majestic and
classic melodic appeal that Radiohead’s songs contain. The
concert also served to draw meaningful parallels between classical
and rock music, proving that both can be satisfying given the right
artist and musical setting.