When Radiohead released In Rainbows digitally in 2007, the collective music press got their reviews online in no time. Today is no different with the release of its follow-up, The King Of Limbs. Here’s a round-up of The King Of Limbs reviews that have been published online.

Rolling Stone has a track-by-track breakdown. “With eight tracks spanning 37 minutes, The King of Limbs is surprisingly short – but it’s also typically rich with electronic texture.” — Will Hermes

Another track-by-track review comes from The Telegraph. On closing track Separator: “It’s a perfectly understated ending to Radiohead’s most mellifluous collection, not so much a chill out as an exhausted cigarette break in the eye of the hurricane, down time from a disaster. If Radiohead are still a rock band, then no one has told them. This is something else entirely. The sound of the future calling.” — Neil McCormick

The Telegraph have another review up. This one’s from Lucy Jones and she asks “is this Radiohead’s most feminine album? [...] It’s a treasure. It places the band’s ability to write beguilingly beautiful songs first and puts the grit and testosterone on the backseat. There are songs on it which will win the band new fans, there are others (Feral particularly) which won’t. Codex, Little by Little and Separator are highlights and will leap high up the band’s canon. I knew it: there is no end to Radiohead’s genius.” — Lucy Jones

“A fans-pleasing eighth album from Britain’s most consistently brilliant band,” says the BBC. “Thom says something about dragonflies, something else about nobody getting hurt; the words blur and blend, though, as beneath them the simplest, most strikingly gorgeous piano motif bores its way into the heart. And it’s here, not any of your limited-character blogging or video-sharing sites, that Radiohead trump all comers, again. — Mike Diver

NME reviewed all eight separately as well, and in their final verdict we quote: “This is an avant-garde record, and most definitely not a return to the crowd-pleasing songwriting of the ‘OK Computer’ era. In a sense it’s a continuation of ‘In Rainbows’ in that Radiohead have now worked out how to be experimental without sacrificing the human element. As on that record, they display the knack of sounding deceptively machine-like. It sounds electronic even when it isn’t – but there’s always a pearl of soulfulness hidden within.” — Luke Lewis

Wall Street Journal: “The King of Limbs, the new Radiohead album, balances beautifully the band’s gift for melodic rock, energetic electronic rhythms and crafty musical experimentation. Quietly assertive, engaging and accessible, it’s a worthy successor to “In Rainbows,” their 2007 release. It’s a short album – eight songs; a little more than 37 minutes – but the music is richly textured and complex.” — Jim Fusilli

The Guardian: “Yes, you can still marvel that one of the world’s biggest bands are releasing music totally lacking in commercial concerns. And yes, they’re still leading the pack when it comes to releasing music in an exciting, innovative way. But whereas their business model is unusual, there’s a nagging feeling that The King of Limbs is more like business as usual.” — Tim Jonze

SF Weekly write: “Only half the grooves-not-songs were good on first listen, and none were great. The very little guitar is welcome when there is any, and judging by the same old rhythm tricks and dull James Blake rip, Radiohead no longer sounds like innovators thinking three steps ahead of us. The band sound like it’s been running on empty ever since John Mayer deciphered its Klingon. The best moments here were the ones least like themselves: South Asian guitars, Mideastern percussion, swooning (if not quite sultry) soul. Radiohead needs to go further, and the fact it needs to be told that means it’s no longer in the lead. — Dan Weiss

Vanity Fair: “Well worth the $9 download and will get several plays on headphones during Manhattan errand runs. But if I hear someone raving about it in line at the movie theater, I might just have to pull a Marshall McLuhan from Annie Hall: “Oh, really? Well, I happen to have the members of Can here.”” — Marc Spitz

Gigwise go track-by-track and end with: “Radiohead’s ‘The King Of Limbs’ might only be eight tracks long but there’s not a single moment that hasn’t been painstakingly constructed, de-constructed and put back together again. With all the ingenious ways the band are now choosing to release music, it’s easy to forget just how inventive, avant-garde and, at the end of the day, emotionally touching the songs they make are. ‘The King Of Limbs’ is an engrossing listen, an album that sends you to an emphatic high before wrapping you up in a blanket to recuperate. Masterful.” — Jason Gregory

The Toronto Sun praise Radiohead on their release tactics and on The King Of Limbs they say: “It’s not a game-changer a la Kid A. It’s not even as accessible as In Rainbows (and that’s using the term loosely). It’s understated and introspective. There are no big anthems, no singalong choruses — virtually no choruses at all, in fact, just layers of skittery rhythms, dreamscape sonics and atmospheric vocals. The lyrics are preoccupied with nature — lotus flowers, magpies, fish out of water and whatnot — in contrast to the music’s unnatural chill. Coupled with the title — which refers to a 1,000-year-old tree in Britain — it suggests a man-vs-nature theme.” — Darryl Sterdan

London Evening Standard: As is the Radiohead way, as befits a an album whose cover nods to Edvard Munch’s The Scream, The King Of Limbs will reveal its diverse charms even slower than it downloads, but while there is no pop music among these eight tracks, there is much to savour . . . The King Of Limbs combines elegant pain, weary despair, uncomfortable dislocation and an unmistakeable seam of comfort. Business as usual for Radiohead, then. — John Aizlewood

The UK edition of Metro rates the album four out of five: “Like Yorke has already shown, The King if Limbs is music to rock out to in the most introspective way as its beautiful melodies drift into and linger in the forgotten pockets of your mind. — Ann Lee