Pitchfork gives Jonny Greenwood's Bodysong 7.7 out of 10

Hartley Goldstein gives Jonny Greenwood's Bodysong 7.7 out of 10 in Pitchfork on 6 November. The score for Simon Pummell's film, Greenwood's first record under his own name, has been out since 27 October on Parlophone, and Goldstein's one real disappointment is how little guitar Radiohead's guitarist plays on it, audible on only two pieces, “Clockwork Tin Soldiers” and “24 Hour Charleston”.

Most of the record is strings, played by the Emperor Quartet, and layered percussion, with the pieces bleeding into one another instead of stopping. In the opener, “Moon Trills”, Goldstein picks out the piano chords of “Pyramid Song” and the ondes Martenot, the early electronic instrument Olivier Messiaen wrote for. Where he found Hail to the Thief too scatterbrained, Bodysong pulls Greenwood's many influences into one balanced record.

Dominique Leone, reviewing “Moon Trills” on its own for the same site in October, noticed how closely the track follows “Louange à l'Éternité de Jésus” from Messiaen's Quartet for the End of Time, and let it pass.

Tiny Mix Tapes give it four out of five. The wordless film, a collage of a century of human life, puts their reviewer, leveer, in mind of Koyaanisqatsi, and “Moon Trills” comes across as “Pyramid Song” crossed with Philip Glass. The bigger surprise for leveer is the music that sounds nothing like a film score, the free jazz in “Splitter” and “Milky Drops from Heaven”, and the riotous heap of percussion in “Convergence”.