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Radiohead biography
With every new album, UK quintet Radiohead reaches ever further to expand their sound, shedding their initial classification as an alt.rock band to become one of the leaders in experimental, challenging modern music.

Radiohead's official introduction to the world was 1993's 'Pablo Honey', built of simple songs that were introspective and sometimes melancholic. Garnering massive success thanks to a huge hit single, Radiohead turned a cold shoulder to the mainstream and recorded 'The Bends', which, while still firmly in the modern-rock mold, didn't make concessions to the mainstream's expectations. Experimentation and arrangements began to blossom on this album, but only hinted at their next phase. 'OK Computer' was released in 1997 and took the world by storm, alienating some older fans while gaining a slew of new fans from all walks of musical life. This album turned the idea of the modern rock album on its head, utilizing a vast array of sounds, touching on everything from '70s progressive rock to the emerging techno/electronica movement, strengthened with a rather grandiose production job. It was an ambitious, adventurous work that will hold up decades from now. Despite spawning several hit singles, it was an immense chunk of diversity that showed Radiohead were going to be an unpredictable entity in the ensuing years.

To their credit, the band did not rest on their laurels as the mainstream's darling art rock band, pushing the envelope much further upon the release of 2000's 'Kid A'. An angular, sometimes difficult work, 'Kid A' was a perplexing shift in direction. It sometimes sounds like a band running riot in a musical equipment warehouse/museum, such is its wide array of tones and sonic dexterity. Songs become anti-songs, and you never know what's waiting around the corner. Capitalizing on this newfound freedom to go anywhere with their music, the band released 'Amnesiac' a year later, often looked at as the companion piece to 'Kid A'. 'Amnesiac' mirrored the approach of 'Kid A' while holding up strongly in its own right.

2003 brought the band's sixth studio album, 'Hail To The Thief', a 14-song monster that seemed to be the culmination of everything that came before it, with a firm eye toward a number of new realms. With a seemingly limitless arsenal of ideas and the electronic toys to make those ideas become reality, the future sound of Radiohead is an open field for them to play upon, to the delight of their diverse group of...
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A Moon Shaped PoolA Moon Shaped Pool
XL Recordings 2016
Audio CD$7.94
$9.29 (used)
In Rainbows [Vinyl]In Rainbows [Vinyl]
TBD Records 2007
$9.99 (used)
The King of LimbsThe King of Limbs
TBD Records 2011
Audio CD$4.98
$3.62 (used)
OK Computer (2xLP) (180g)OK Computer (2xLP) (180g)
XL Recordings 2016
The BendsThe Bends
Parlophone 1995
Audio CD$7.06
$0.14 (used)
Hail To the Thief (2xLP) (45 RPM) (180g)Hail To the Thief (2xLP) (45 RPM) (180g)
XL Recordings 2016
$20.53 (used)
Kid AKid A
XL Recordings 2016
Audio CD$6.63
$9.99 (used)
Pablo HoneyPablo Honey
Parlophone 1993
Audio CD$4.98
$0.01 (used)
Parlophone 2001
Audio CD$7.08
$0.37 (used)
Radiohead: A Moon Shaped Pool Vinyl 2LPRadiohead: A Moon Shaped Pool Vinyl 2LP
Collector's Edition
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2h 18m
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OK Computer by Radiohead (CD, May-1997, Capitol) USD $0.99 [1 bids]
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RADIOHEAD discography

Ordered by release date | Showing ratings (top albums) | Help to complete the discography and add albums

RADIOHEAD top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

2.50 | 305 ratings
Pablo Honey
3.80 | 480 ratings
The Bends
4.03 | 833 ratings
OK Computer
3.94 | 666 ratings
Kid A
3.62 | 378 ratings
3.44 | 387 ratings
Hail To The Thief
3.81 | 480 ratings
In Rainbows
3.30 | 295 ratings
The King Of Limbs
4.12 | 141 ratings
A Moon Shaped Pool

RADIOHEAD Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.57 | 81 ratings
I Might Be Wrong

RADIOHEAD Videos (DVD, Blu-ray, VHS etc)

4.27 | 21 ratings
7 Television Commercials
2.75 | 17 ratings
The Astoria London Live
3.19 | 16 ratings
The Best Of
4.30 | 16 ratings
The Kings Of Limbs - Live From The Basement

RADIOHEAD Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.15 | 20 ratings
Radiohead Box Set
3.24 | 18 ratings
The Best Of
2.50 | 8 ratings
TKOL RMX 1234567

RADIOHEAD Official Singles, EPs, Fan Club & Promo (CD, EP/LP, MC, Digital Media Download)

2.43 | 9 ratings
3.33 | 49 ratings
My Iron Lung
2.53 | 17 ratings
2.88 | 14 ratings
Street Spirit (Fade Out)
4.26 | 19 ratings
Paranoid Android
3.85 | 13 ratings
No Surprises / Running From Demons
3.79 | 39 ratings
Airbag/How Am I Driving?
2.30 | 19 ratings
Pyramid Song
2.77 | 15 ratings
There There
2.33 | 11 ratings
Go To Sleep
2.38 | 25 ratings
Com Lag: 2plus2isfive
3.90 | 10 ratings
3.75 | 8 ratings
Bodysnatchers / House Of Cards
3.91 | 11 ratings
4.00 | 13 ratings
Jigsaw Falling Into Place
2.11 | 16 ratings
Harry Patch (In Memory Of)
2.84 | 24 ratings
These Are My Twisted Words
3.30 | 21 ratings
Supercollider / The Butcher
3.38 | 15 ratings
The Daily Mail / Staircase
3.80 | 5 ratings


Showing last 10 reviews only
 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.12 | 141 ratings

A Moon Shaped Pool
Radiohead Crossover Prog

Review by rogerthat
Collaborator Crossover Team

5 stars Thank God Radiohead tracks are on the shorter side! The other day I sat down in my suburban train and basked in the sounds of Daydreaming followed by Decks Dark (both tracks from the new album A Moon Shaped Pool). So lost was I in the music that had Decks Dark not wound down in time, I would have missed my change station. Aw, you thought I was going to say they can't make epics and all that ;)

And the above sums up the experience of listening to A Moon Shaped Pool. It is perhaps the least innovative Radiohead album from Bends and onwards (which is NOT to say it lacks innovation) and yet it is also like no other Radiohead album. After all this time, Thom Yorke & Co (or should I say Johnny Greenwood & Co) segue from experimentation to emotion and have just made the most lovely, organic and heartfelt album of recent times. There is less (next to no) frenzy in this album but tons and tons of involvement. Radiohead have arrived.

Let's just take the two tracks I mentioned at the outset. Daydreaming starts with a calm, soft piano figure on loop and proceeds into Yorke's characteristic undecipherable wailing. But at the end of each vocal fragment is a Tony Banks-like progression. Now where did that come from? This theme endures throughout the album (also noticeable in the little choir-keyboard interlude in Identikit for example). From nowhere, very 70s sounding passages of music blend seamlessly into Radiohead's characteristic....well, what is it, alt rock, electronica, prog rock ;) ?

On this album, more than ever, Radiohead's music defies categorisation. At first brush, it appears to lean more towards rock and yet the construction of tracks like Daydreaming or Tinker Tailor is more, well, progressive and avoids the usual verse-chorus pattern. And yet, the album sounds the most organic, the most, well, graceful that a Radiohead album could ever. Phil Selway in particular handles it all with a very light touch but the orchestration too is majestic, flowing, delicate (yes, all these things at the same time) in ways you've never heard on a Radiohead album. Radiohead may not have broken into new frontiers genre wise on this album but their very approach to making music appears to have changed.

How is this explained, especially when you consider that a good proportion of the tracks have already been performed live for years? The answer is Johnny Greenwood. I am led to believe that Greenwood's work in scoring for films carried over into this album and if that is so, then I do see the hand of a master orchestrator. The songs transform from their embryonic versions owing to the way they are built up, the way they are embellished with a tapestry of intricate figures, loops and just plain sound at times. And so it is that we land up with this wonderful blend of strings arrangements, electronic music, 70s throwbacks and, finally, just good old Radiohead guitar.

Which brings me to Decks Dark. A song so vulnerable in its despairing solitude it brought me to the verge of tears (and on checking out conversations on the internet, I found I was not alone). starts with yet another piece of soft, calm piano that underpins Yorke's plaintive vocals. Which in turn lead into a very gloomy, wailing choir that accompanies the comparatively more animated chorus. And then, in the end, almost without warning, we are led into a sharp, though still slow, guitar riff. But wait...there's actually piano overlaying the guitar....

Describing the multitude of twists and turns in this albums and the little surprises it keeps springing on me as I listen more and more would take eons. Plus, doing so would only spoil the fun for you the listener. Suffice it to say that this is an album that feels crafted rather than put together and an album where creative choices seem to flow from the emotion sought to be expressed rather than creativity for the sake of creativity itself.

Radiohead remain to this day a contentious addition to this website. A Moon Shaped Pool is the closest they have got to making an album that may perhaps be found by old school progheads to be prog (though I wouldn't hold my breath). Progressive not for time sig complexity but progressive simply because mainstream non progressive rock has no use for so much intricacy and depth of musicianship. It sounds an odd thing to say for an album that I described as the least innovative Radiohead album from Bends onwards, but A Moon Shaped Pool will stand the test of time better than its illustrious predecessors OK Computer and Kid A and is, in my admittedly premature estimation, a greater achievement than those celebrated albums. One of the most thoughtful and intelligent bands of our times have connected with their soul and in the process given us one for the ages. Five stars.

 I Might Be Wrong by RADIOHEAD album cover Live, 2001
3.57 | 81 ratings

I Might Be Wrong
Radiohead Crossover Prog

Review by CassandraLeo

5 stars When Kid A and Amnesiac came out, listeners were concerned about how the material from them would sound live, as there were plenty of signs that Radiohead had relied on studio trickery to achieve much of those albums' sound. It was an open question as to whether the band would be able to reproduce those songs live without significant changes to them, and fans were worried that the material would suffer in translation.

As it turns out, they had nothing to worry about, as the band were able to present all the important elements of nearly all the material here from those albums, as attested by this brief but enlightening live recording. Many of these songs actually sound better than their studio counterparts. The only song that differed significantly in arrangement was the electronic composition "Like Spinning Plates", which relied in the studio on backmasking and tape loops. Here it's presented as a stark piano ballad. It's a very different song, but both versions of the song are incredible, and it's unlikely anyone will complain about the song's metamorphosis.

Most of the other songs strongly resemble their studio counterparts, but many of them sound better due to the band's energy as a live act and the superior mastering of this release. Most of the band's studio releases have been subject to the "loudness war", a trend whereby releases are subjected to increasing dynamic range compression in the ongoing pursuit of loudness. Unfortunately, this frequently sucks all the life out of the recording, and in the case of Amnesiac resulted in the material being distorted due to digital clipping (in which the peaks and troughs of waveforms are simply flattened, resulting in a muffled sound). This distortion is almost completely absent from this release; while it's still compressed, it's not as loud as either Kid A or Amnesiac, and has none of the clipping that plagued the latter release.

The other song most dramatically transformed from its studio counterpart here is "Everything in Its Right Place", which is extended by several minutes with a coda that incorporates several processed layers of Yorke's voice. It's a hypnotic effect comparable to what Queen did on A Night at the Opera or what 10cc did on "I'm Not in Love", and it makes an already great composition even greater. The EP closes with the band's legendary song "True Love Waits", which had been débuted live as far back as 1995 and did not appear on a studio album until twenty-one years later. However, the studio version wound up having a radically different arrangement, based largely on electric piano. Here, it's presented as a stark acoustic guitar ballad, and it's just as essential as the studio version.

The only downside to this release is its brevity, but since it's considered an EP, it's difficult to mind much. One does wish that more live material from this era (or from the band in general) were available, because their prowess as a live act is legendary. But then, that's a central tenet of showbiz: Leave them wanting more.

 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.12 | 141 ratings

A Moon Shaped Pool
Radiohead Crossover Prog

Review by CassandraLeo

5 stars I'm having a difficult time thinking of any other album this year that was as heavily anticipated as A Moon Shaped Pool, apart from maybe David Bowie's Blackstar. This release comes after five years of studio silence between Radiohead albums, the longest gap between releases to date. It also contains several previously unreleased songs that had become legendary amongst fans of the band, most notably "Burn the Witch", which dates back to the Kid A sessions in composition and had never been performed in public (apart from a few chords). "True Love Waits" had been previously available on the EP I Might Be Wrong: Live Recordings, but it's finally getting a studio release twenty-one years after it was premièred live. Most of the other songs don't have such a lengthy lineage, but many of them date back at least eight years.

The material on this album is largely subdued orchestral art pop, in many cases reflecting Thom Yorke's recent separation from his partner of twenty-three years. This is obliquely referenced on several cuts from the album; for example, "Daydreaming" contains a backmasked vocal that has been interpreted by fans as saying "Half of my life". Yorke is, one may note, currently forty-seven years old, meaning that he was with his former partner for nearly half of his life. "True Love Waits" was previously a tender, haunting love song, but in the album's current context it becomes even more emotional, with the song's refrain of "Just don't leave" becoming more resonant than ever.

Other songs are perceived to address the political issues one would expect from a Radiohead record. "Burn the Witch" has been interpreted as addressing the scapegoating of immigrants or authoritarianism and groupthink, while "The Numbers" addresses climate change. The album's title seems to be a reference to the Earth itself in the aftermath of global warming: after the melting of the polar ice caps, all that will be left is a moon-shaped pool. Notably, the shape on the cover resembles a distorted version of North America.

The album benefits strongly from Jonny Greenwood's string arrangements, which can be found on many of the album's songs (most obviously the lead single, "Burn the Witch"). Other songs, such as "True Love Waits", have more sparse arrangements. This song, when performed live, was usually performed as an acoustic guitar number, sometimes with a synthesizer accompaniment. Here, it's performed mostly on a solitary electric piano, with sparse additional instrumentation, and it's even more heartbreaking than ever.

A Moon Shaped Pool will undoubtedly be one of the most talked-about releases of the year, and thankfully, Radiohead have lived up to expectations. The only significant flaw I can cite with the album is its mastering, but this is of course nothing new for the band. Most of the songs distort significantly from clipping; "The Numbers" has attracted significant complaint from listeners for this problem. However, this flaw isn't enough to counteract the power of this music, and it makes another worthwhile addition to Radiohead's already legendary canon.

 The Kings Of Limbs - Live From The Basement by RADIOHEAD album cover DVD/Video, 2012
4.30 | 16 ratings

The Kings Of Limbs - Live From The Basement
Radiohead Crossover Prog

Review by CassandraLeo

5 stars The King of Limbs has received a somewhat mixed reception when compared to Radiohead's previous albums since The Bends. In truth, the songs on it are all quite good, but it's the sort of album that requires repeated listening to unpack, since it's rather unlike anything the band or (for that matter) anyone else has done previously, and it has a rather significant problem in that nearly every song is better live than it was in the studio.

Hence, this live release. The band is joined by extra percussionist Clive Deaver (also known for his work with Portishead) and several wind instrument players. The benefit to the band's sound is substantial. "Bloom" is a case in point; while the studio version was an endearing composition already, the expanded sound just adds to the song's effect. The majority of songs here are vastly superior to their studio counterparts.

This live collection also benefits over the studio release in another important manner: it has more songs. The King of Limbs has often been criticised for being too short, especially since the band had several other excellent songs from the sessions that were released on singles shortly after the album's release. Three of those songs are included here, and they're worthy additions to the corpus of the album, making listeners wonder why they were left off the album in the first place. (The band claims that they didn't flow right with the rest of the material, but given the fact that no song on the album sounds like any other song on the album, listeners will probably not find this to be a satisfactory explanation).

My only complaint is with the terrible mastering, but unfortunately that's been a problem with nearly all of Radiohead's material going back to Amnesiac (including most of these songs' studio counterparts), so nothing new here.

In any case, this live release is strongly recommended, and should convince sceptical listeners that this period in Radiohead's career was just as worthwhile as any of the others.

 Pablo Honey by RADIOHEAD album cover Studio Album, 1993
2.50 | 305 ratings

Pablo Honey
Radiohead Crossover Prog

Review by CassandraLeo

3 stars First things first: There is almost nothing prog about this album. The opener, "You", alternates three bars of 6/8 and one bar of 5/8. That's pretty much the only prog touch on the album; none of the songs even breaks the six-minute mark (granted, neither did any of the songs on The Bends). There also isn't much hint of the experimental juggernaut that Radiohead would later become. It's pretty much a straightforward grunge-meets-Britpop effort. This may be a somewhat uncommon mixture of styles, but it's certainly not a patch on the genre-breaking work Radiohead would do later with efforts like OK Computer and Kid A.

However, all that aside, it's a solid debut, and doesn't deserve the pasting a lot of reviewers give it. It suffers in comparison to the band's later efforts, so people have the inclination to label this album as being much worse than it actually is. Songs like the aforementioned "You", the closer "Blow Out", and the anthemic "Anyone Can Play Guitar", all three of which are probably as good as anything on The Bends, provide solid proof that the album is much more than a showcase for the band's early hit "Creep" (which is also a much better song than it's frequently given credit for being). The brief, furious "How Do You?", the reflective, almost R.E.M.-ish "Stop Whispering", and the almost heartbreaking "Lurgee" also stand out as strong tracks.

New listeners, particularly if they're looking for something progressive, certainly shouldn't start here (the most sensible recommendation is probably to start with The Bends and work forward, then come back here, but I started with Kid A when it was released and never looked back), but this release shouldn't be overlooked completely. There are plenty of wonderful songs here.

 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.12 | 141 ratings

A Moon Shaped Pool
Radiohead Crossover Prog

Review by LearsFool
Collaborator Post/Math Rock Team

5 stars There are several things that are very special about very eclectic artists and bands, but what sticks out to me is the unpredictability that results, and how that effects the lead up to a new album. When you look at a band like Radiohead, who make a habit out of defying expectation, trying new things, digging up old songs, and being cryptic as all heck heading towards a release, this is particularly acute. You're left wondering and wondering and hoping and scraping through muck with your bare hands to figure out anything you can about what Oxford's finest's next adventure has in store.

Then comes actually listening to their shiny new sound.

To be so crass as to compare this to older albums, this is mostly something of a mashup of "Amnesiac" and "In Rainbows", taking electronics and orchestration familiar to the former, with a bit of the roulette style of tracklisting, and crossing it with the accessibility, flow, and sonic-smoothie-esque flavours of the latter. Of course, you'll be able to trace where "The King of Limbs"'s electronics led to this - and now we see a confirmed pattern of comparative experimentation and comparative accessibility between every two 21st century head unit albums - and the closing studio version of "True Love Waits" (!) has electronics that instead buck the album's holding pattern and remind of "Kid A", but the first comparison should give you an idea of what to expect.

Side note from TLW: this has the highest turnover rate of any album of theirs in terms of older songs finally getting finished: "Burn The Witch", "Ful Stop", "Identikit", "Present Tense", even TLW, which did have an official release as a live cut a decade ago. This alone makes "A Moon Shaped Pool" a necessary listen. Go team!

More specifically, the tracks sound as follows... "Burn The Witch" is an outlier, a tense, string driven, practically chamber piece, with lyrics suggesting government round ups and McCarthyism. "Daydreaming" and "Decks Dark" announce the main electronic styles of the record, and flow into each other well. The former, up to its positioning, distantly recalls "Pyramid Song". The tracks debuted by Thom in Paris last year, "Silent Spring" and "Desert Island Disk", come to us as acoustic guitar driven songs that are surrounded by more electronics and complimentary strings, with the former now called "The Numbers" - "The Present Tense" also ended up with a similar treatment. "Identikit"'s prog-friendly structure has been perfected, and it is the other driving part of the album. "Tinker Tailor" features an electronic rhythm. "True Love Waits" comes off as a more natural "Motion Picture Soundtrack". The remainder compare to the mid-album tracks from "In Rainbows" while sticking to the flavours of the rest of this one.

And it's one of the best albums of the year. But what else did you expect from Radiohead?

 The King Of Limbs by RADIOHEAD album cover Studio Album, 2011
3.30 | 295 ratings

The King Of Limbs
Radiohead Crossover Prog

Review by Prog Leviathan
Prog Reviewer

3 stars Full disclosure: I'm not much of a Radiohead fan. In fact, just about the only time I listen to the group is when I'm in the mood for In Rainbows, or if I'm writing reviews for this website. The sound on the band's key albums doesn't resonate with me. That being said, I think that King of Limbs is actually pretty great. It sloughs off some of the "rock" baggage in Radiohead's sound that never really worked for me in favor of ambient textures, bass grooves, and a more open-ended experience that is an easier listen and seems to fit the group well.

The first half of King of Limbs strongly incorporates elements of electronica into the the band's trademark sound of guitar textures and Thom Yorke droning. "Bloom" starts us off with drum, horn, and keyboard effect samples, creating a directionless ambiance that is sophisticated and dense. The next two tracks have scattershot drumming and gentle guitar riffing that continue this electronica experimentation. Yorke uses his voice as a instrument, which I think is great because I've never cared for his lyrics or phrasing as a singer; here, he sings long sustains and tones that drift into the overall tapestry of the songs.

The second half is the stronger side; things become more subtle. The songs slow down are densely layered and emotional. "Codex" features wonderful piano work played over a gentle electronic throb and haunting vocals. Probably the highlight of the album for me. "Seperator" is a great, dreamy and optimistic feeling close to the album.

This release will probably turn off fans of Radiohead's earlier and more critically acclaimed works, but King of Limbs is, ironically, more approachable because of its gentle mood and deviation from the band's noisier art-rock offerings.

An enjoyable, moody combination of tones and sounds to drift off to.

Songwriting: 3 - Instrumental Performances: 3 - Lyrics/Vocals: 3 - Style/Emotion/Replay: 4

 Kid A by RADIOHEAD album cover Studio Album, 2000
3.94 | 666 ratings

Kid A
Radiohead Crossover Prog

Review by Prog Leviathan
Prog Reviewer

3 stars I've always kind of dreaded reviewing Radiohead albums, mostly because I hear and acknowledge the artistry that the group puts into each of their releases, but it never really registers for me. Most people in my demographic enjoy Radiohead because their first encounter with the band was some sort of revelation that opened their ears to what artistic music could be. I was already deep into Yes, King Crimson, and other prog groups, so when I heard people say, "oh man you've GOT to listen to Radiohead! They're so inventive..." I immediately thought "screw you, I'm listening to a 20 minute song about transcendentalism and the flourishing of the human spirit." At any rate, its seems that one cannot be a fan of art rock without exposing oneself to Radiohead, so here we go.

I feel that Kid A is basically ambient/trance music with the occasional guitar noise and drums thrown in. Radiohead has composed a series of languid, synth-heavy songs that ebb and flow through rhythm and melancholy. The musicianship is one of subtlety and craftsmanship, creating generally moody emotions in abstract structures. There isn't a single chorus, hook, or melody that is likely to stick with the listener, but the general feeling while listening is generally quite pleasant, even if you can't really pick out what you like about it. The album feels very lazy and at times is even trance-inducing, but if you listen closer you'll actually hear quite a bit going on. I suppose for me I enjoy Kid A as sort of "avant garde light". It's crazy enough to be a weird and artistic experience, but not TOO weird and artistic as to be inaccessible. This is probably why Radiohead was so successful; they invented and created something that was just weird enough to still be popular.

As a rock album I think that Radiohead's performance on Kid A is underwhelming and forgettable. As a piece of experimental art, I think it's pretty good; however, it will definitely appeal to some much more than others, and probably for different reasons.

Songwriting: 3 - Instrumental Performances: 4 - Lyrics/Vocals: 2 - Style/Emotion/Replay: 3

 The Bends by RADIOHEAD album cover Studio Album, 1995
3.80 | 480 ratings

The Bends
Radiohead Crossover Prog

Review by Progkid

5 stars Radiohead are one of my most favorite bands, but I do not consider them prog, actually its impossible to call or restrict them to any one genre(that's not how Thom works) so I won't judge this album by prog standards but rather by musical standards The Bends is one of the best second albums out there, its sad, melancholic and hauntingly beautiful, its a great step towards a legendary career after their debut Pablo Honey, Jonny greenwood's guitar roars in this album and Thom gives a great vocal performance as usual, this is the best album to start if you wanna get into Radiohead 1. Planet Telex- Great album opener, perfectly sets the mood for the album, totally in the spirit of 90's lyrically a bit sad and angst filled, a perfect performance by all band members. 8.5/10 2. The Bends- Another great guitar driven tracks, I don't know what to say the words are coming out all weird (pun intended) cause this is so amazing. Its about how Thom felt when suddenly a lot of people became his 'friends' after the success of the band, 8.5/10 3. High and Dry- Great acoustic guitar at the start of the album, Thom gives one of his best vocal performances ever, for me its about how someone leaves you all alone and you are left there all alone, but yet feeling sad not for yourself but for the person who left you and is alone too.....someone you love more than yourself, how the best thing you ever had goes away. 10/10 4. Fake Plastic Trees- The title suggests the meaning, when someone you love isn't real but fake, one of the most touching songs on the album, and Thom's falsetto is at the best during the end, it is also about how you desperately want to be with someone but can't because they hate you for no reasons 'If I could be who you wanted all the time' 10/10 5.Bones- a straight in your face rocker, I don't quite get the meaning but it is surely angst filled, not one of my favorites on the album yet good enough to be 7/10 6. Nice Dream- This is one of my favorites RH moments, beautiful guitars, drums, vocals, lyrics, just everything so perfect just like a nice dream, you know what I mean right? if you don't listen this song right now P.S great backing vocals and guitar in the end 7.Just- what do I say about this song? the lyrics say it all "you do it to yourself, you do and that what really hurts you do it to yourself, just you you and no one else"8.5/10 8. My iron lung- this song was released in the selftitled E.P but yet it remains one of the greatest song on this album, one of the best known rh songs, with lovely guitars and drums and tends to make a joke on creep 10/10 9.Bulletproof... I wish I was- quite sad, you know when someone hurts you so much that all you wish for is something which can ease the pain? when you cant take it anymore and wanna be bulletproof, its a tear jerker 10/10 10. Black Star- Hidden gem actually in the bends, quite underrated, to me it represents a period when you keep fighting with your lovedone which leads to break up and then after all this you can't forget them and tend to blame it on everything around, it eats you from inside, you can't sleep, you always see their face everywhere, its a lovely track 10/10 11. Sulk- quite a sarcastic song and funny for me( reminds me of someone sulking at their mistake) you know people like that, they'll hurt you and sulk sometimes thinking its their fault, but yet they are scared of saying sorry, anyway great track 8.5/10 12. Street Spirit- the most depressing song ever, even Thom used to cry singing it, because it shows helplessness, sadness and all other problems, their songs are like a dark tunnel but eventually there is light and the song is not always sad, but this one has got no positive thing whatsoever, quite moving and a great closing track from a great band's album
 Kid A by RADIOHEAD album cover Studio Album, 2000
3.94 | 666 ratings

Kid A
Radiohead Crossover Prog

Review by TCat
Prog Reviewer

5 stars At the end of the "OK Computer" tour, Radiohead was feeling very burned out. They all felt that they needed to take the band in another direction, but the direction they wanted to go was a matter of argument among the members. Of course, Yorke had the most say about where the band would go, but was willing to disband if everyone didn't reach an agreement where to take the band. Yorke had started listening to more electronic based bands and wanted to rely less on melody, and to use textures and treat his voice as an instrument and not necessarily the focal point with traditional melody after traditional melody playing one after another. He was really impressed with the range of emotions that were evident in different types of music, particularly electronic, and started to be influenced by Krautrock, 20th Century Classical Music and Jazz. He was also tired of the imitators that were out there, and after the success of "Ok Computer" thought it was time for the band to move on.

It is interesting that the success of the band just about brought on their demise. The members of the band had a hard time accepting that not every member would be playing on each track, and that caused a lot of arguments among the members. They tried splitting up the band so that at one time a few of them would work on song basics while the others fleshed out and finished the songs and then they would switch roles, that was everyone was involved with the music all of the time. After doing this for a while, using electronics to carry it out for the most part, the band all became convinced that this was the way to go, and "Kid A" started to come into being. In fact, there were so many songs completed, that they were going to release it as a double album, but then they decided to split it and save some of the songs for the next album "Amnesiac" which is what they did.

To me, this album is a masterpiece. Radiohead had progressed to another style of music, away from alternative based guitar rock to more of an experimental/electronic sound, and they nailed the sound on this album. This is quite a collection of emotive songs, with a lot of depth and texture, which is what Yorke was aiming for. The beautiful thing about the album is it doesn't sound like the band was stepping into unknown territory, the songs on this album are beautiful and full of emotion. Getting a lot of inspiration from Aphex Twin and a few others, Radiohead developed a new signature sound. They got away from the traditional pop format of verse-chorus formula to a more untraditional and unique way of songwriting. Yorke's vocals were sometimes processed and other times not. I feel his voice did become an instrument here, that he was able to develop different sounds to help add texture to the overall song instead of distracting from it.

There is quite a range of sounds here, including a brass section in "The National Anthem" that creates more and more dissonance as the song continues until chaos ensues. The instrumental "Treefingers" sounds like a synthesized song, but it is actually Greenwood's guitar processed by Yorke to sound ambient and electronic. "Everything in it's Right Place" and "How to Disappear Completely" processed Yorke's voice into a surprisingly beautiful texture, even taking a monotone recording of his voice and digitally altering it to create the melody. And "Idioteque" is such a unique song that uses short samples of two different electronic tracks from the 70s, that one of those creators of on of those samples (which was taken from a much longer work) actually wrote a book about "Idioteque" and the theory behind it.

This album is definitely progressive in every sense. Just because it doesn't sound like it's from the 70s doesn't mean that it is not progressive. Being progressive means not sticking with a formula, like sounding like something from the past, but it is building and developing sounds into new and exciting territories and not remaining stagnant. This is how we can consider Radiohead a progressive band. This is a masterpiece of an album and deserves all 5 stars.

Thanks to ProgLucky for the artist addition.

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