'Where do we go from here?" the British band Radiohead asks at the beginning of its second album, "The Bends." It's the same question the band posed to begin a sharp set at Toad's Place in New Haven Tuesday night.

It was a smart way to begin for the band, best known stateside for its self-loathing little single "Creep."

Singer Thom Yorke, who writes the lyrics, is an appealing presence -- one of those slightly built, miniaturized rockers who backs up considerably when body surfers roll his way. His hair is in a spiky 'do that would not be out of place in the first New Wave. He looks a little like Martin Short and sings like the Psychedelic Furs' Richard Butler.

But he's got a much, much better voice -- which may be all it takes to set Radiohead apart from so many other new bands out there. Affixed with earphone monitors, he soars confidently into falsetto.

Yorke carries a guitar, but the band isn't dependent on his instrument. There are two other guitarists, Johnny Cunningham (who favors a Johnny Ramone haircut) and Ed O'Brien -- the former somehow fits in soloing amid his furious strums, the latter intent on creating effects only. At a time when most bands have to go out with extra guitarists to replicate their studio sound, the lineup makes sense. Behind them, drummer Phil Selway and bassist Colin Greenwood create a deep rhythmic bed.

Many Radiohead songs, such as the current "Fake Plastic Trees," begin acoustically, introspectively, almost softly. But those who would be silly enough to slow dance to the tunes would be shocked by the full power of songs that typically explode about halfway into them. There's a seething, riffing beast inside of every seemingly tender impulse.

Yorke spoke little to the crowd except to say thanks or to describe no less than three of the dreamier sounding songs as "soundtracks to car adverts that haven't been made yet."

He's exaggerating. Any car ads using these themes would show a sedan handling mountainous curves with ease -- before crashing off the side of the road.

There were a surprising number of parents on hand to accompany kids to the all ages show who seemed to be enjoying themselves as well. And why not? As the band suggests, the sound is stitched together from all kinds of influences that have been broadcast since the beginning of rock. And it doesn't take much imagining to hear the Hollies, solo John Lennon and a smidgen of British rock from all eras.

Some ambitious reviewers have gone so far as to call "The Bends" the '90s version of "The Joshua Tree." It may not be so far off. Yorke's serious intent and keening vocals certainly bring Bono to mind. And the band is also able to create the same kind of dynamic tension in a song. U2 played Toad's a few times 15 years ago; a much younger visage stared down Tuesday from the club's gallery of portraits. But Radiohead is probably far more developed at this point than U2 was then.

David Gray began the show with his acoustically based, well-written rock, backed by bass and drums to an unfairly sparse response.