Editor’s note: The story has been updated to reflect that the album is not available for free download as previously posted.

Those cheeky art rockers from the U.K. have done it again. After stunning the music world with a pay-what-you-want business model for their last record called “In Rainbows,” Radiohead dropped a Valentine’s Day surprise by announcing the release of their new record, “The King of Limbs.” Setting the digital release for that weekend, they never uttered another word, save a simple announcement on their website. And yet they still managed to set the music world on fire.

Album showcases fresh sound

And you better believe the hype. Toning back somewhat from the depressive themes of the critically acclaimed “In Rainbows,” “Limbs” is a fresh take on the signature Radiohead sound: techno pop with a large emphasis on rhythm and drum machine beats. Far in the rear view mirror are the heavy, dirty distortion from the “Creep” days. In its place is a textured, layered sound that showcases the tightness of the band’s musicianship and the eclectic uniqueness of mercurial front man Thom Yorke’s vocals.

Short but sweet

The record is only eight songs long, short by all industry standards and clocking in at just a little over 37 minutes. But it is very much a complete work. “Bloom” starts with fluttery synth notes taken over quickly by Phil Selway’s scatty drum work. Yorke does his thing, sounding as mysterious as ever, with a little less angst than usual.

“Morning Mr. Magpie” is arguably the best song on a record full of solid tunes. Radiohead never was a band to write commercially viable singles, and “The King of Limbs” is no different, but “Morning Mr. Magpie” would make a solid choice if they had to choose one. It sounds like a polished “Bodysnatchers,” with elements of guitar delay to add to the chaotic boiling pot of sonic delectation assaulting the listener’s ears. The lyrics don’t make sense, but when have Yorke’s lyrics ever really made sense? Let’s be real.

A little percussion

The next track, “Little By Little,” displays Selway’s impressive percussive skills, with cowbell and drums working hand in hand to provide the groundwork on which guitarist Jonny Greenwood can implement his subdued guitar licks.

“Feral” features a haunting sound that conjures up images of ghostly apparitions floating about in a dark forest. Colin Greenwood’s bass provides an almost trance-like underbelly for the song, adding a spooky, subliminal gloom. It’s really more of a sketch than a fully fleshed song in the traditional sense, but isn’t really eligible to be called filler either, as it fits well into the overall album.

Setting a track to interpretive dance

“Lotus Flower,” which has spawned the viral video of Yorke’s comical pseudo-interpretive dancing, brings the band back into full-song form. Yorke’s lyrics even have some semblance of comprehensibility as he sings, “There’s an empty space inside my heart / And it won’t take root, tonight I’ll set you free, I’ll set you free.”

Radiohead dials things back with “Codex,” featuring merely Yorke on piano and vocals. It’s a bit of a snoozer, dragging on a little too long. Fortunately, “Give Up the Ghost” is a far more compelling track, with the rare appearance of a tastefully simple acoustic guitar. Keeping with the ghost theme, the repeated refrain “Don’t haunt me” augments Yorke’s stripped back lead vocal performance. The song doesn’t put forth a sense of paranoia, however, something that has permeated Radiohead’s lyrics in the past. It seems like more of a quiet resolve. “Separator” closes out the record with more of the same. “The King of Limbs” is a marvelous work of art that makes it clear Radiohead is one of the biggest bands in the world that is not played regularly on the radio.

Sorry, gents. Radiohead’s Valentine’s Day present was better than yours.