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RADIOHEAD

Crossover Prog • United Kingdom


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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$9.99
In Rainbows [Vinyl]In Rainbows [Vinyl]
TBD Records 2007
Vinyl$14.47
$20.99 (used)
Kid A (2-10Kid A (2-10" LPs) [Vinyl]
Limited Edition
Parlophone 2008
Vinyl$24.21
The King of LimbsThe King of Limbs
TBD Records 2011
Audio CD$7.39
$4.99 (used)
OK Computer (2xLP) (180g)OK Computer (2xLP) (180g)
XL Recordings 2016
Vinyl$23.97
The BendsThe Bends
Parlophone 1995
Audio CD$3.45
$2.49 (used)
OK ComputerOK Computer
Parlophone 2008
Vinyl$24.87
$18.11 (used)
I Might Be WrongI Might Be Wrong
XL Recordings 2016
Audio CD$11.99
Pablo HoneyPablo Honey
Import
Parlophone 1993
Audio CD$3.59
$0.01 (used)
The Bends (180g)The Bends (180g)
XL Recordings 2016
Vinyl$21.82
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RADIOHEAD discography


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

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

2.50 | 298 ratings
Pablo Honey
1993
3.80 | 471 ratings
The Bends
1995
4.03 | 822 ratings
OK Computer
1997
3.94 | 653 ratings
Kid A
2000
3.62 | 372 ratings
Amnesiac
2001
3.44 | 377 ratings
Hail To The Thief
2003
3.80 | 474 ratings
In Rainbows
2007
3.31 | 289 ratings
The King Of Limbs
2011
4.17 | 89 ratings
A Moon Shaped Pool
2016

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

3.57 | 80 ratings
I Might Be Wrong
2001

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

4.27 | 21 ratings
7 Television Commercials
1998
2.75 | 17 ratings
The Astoria London Live
2005
3.19 | 16 ratings
The Best Of
2008
4.30 | 16 ratings
The Kings Of Limbs - Live From The Basement
2012

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

4.15 | 20 ratings
Radiohead Box Set
2007
3.24 | 18 ratings
The Best Of
2008
2.50 | 8 ratings
TKOL RMX 1234567
2011

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

2.43 | 9 ratings
Drill
1992
3.33 | 49 ratings
My Iron Lung
1994
2.53 | 17 ratings
Itch
1994
2.88 | 14 ratings
Street Spirit (Fade Out)
1996
4.26 | 19 ratings
Paranoid Android
1997
3.85 | 13 ratings
No Surprises / Running From Demons
1997
3.79 | 39 ratings
Airbag/How Am I Driving?
1998
2.30 | 19 ratings
Pyramid Song
2001
2.77 | 15 ratings
There There
2003
2.33 | 11 ratings
Go To Sleep
2003
2.38 | 25 ratings
Com Lag: 2plus2isfive
2004
3.90 | 10 ratings
Reckoner
2008
3.75 | 8 ratings
Bodysnatchers / House Of Cards
2008
3.91 | 11 ratings
Nude
2008
4.00 | 13 ratings
Jigsaw Falling Into Place
2008
2.11 | 16 ratings
Harry Patch (In Memory Of)
2009
2.84 | 24 ratings
These Are My Twisted Words
2009
3.30 | 21 ratings
Supercollider / The Butcher
2011
3.38 | 15 ratings
The Daily Mail / Staircase
2011
3.80 | 5 ratings
Spectre
2015

RADIOHEAD Reviews


Showing last 10 reviews only
 I Might Be Wrong by RADIOHEAD album cover Live, 2001
3.57 | 80 ratings

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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.

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 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.17 | 89 ratings

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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.

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

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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.

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 Pablo Honey by RADIOHEAD album cover Studio Album, 1993
2.50 | 298 ratings

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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.

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 A Moon Shaped Pool by RADIOHEAD album cover Studio Album, 2016
4.17 | 89 ratings

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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?

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 The King Of Limbs by RADIOHEAD album cover Studio Album, 2011
3.31 | 289 ratings

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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

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 Kid A by RADIOHEAD album cover Studio Album, 2000
3.94 | 653 ratings

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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

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 The Bends by RADIOHEAD album cover Studio Album, 1995
3.80 | 471 ratings

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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

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 Kid A by RADIOHEAD album cover Studio Album, 2000
3.94 | 653 ratings

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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.

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 OK Computer by RADIOHEAD album cover Studio Album, 1997
4.03 | 822 ratings

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OK Computer
Radiohead Crossover Prog

Review by A_Flower

4 stars If you are considering looking into the second generation of prog rock (Marrilion, Porcupine Tree, etc.) then this is the place to start. Radiohead's third album, Ok Computer is often seen as the modern Dark Side of the Moon. And it is, in my opinion. It is good in creating an environment of music, transitions well, and blends multiple themes in one album still maintaining it's atmosphere.

The album starts with electric guitar and adds in drums. This is "Airbag" the song is about car accidents, which is talked about a lot in the album (ironic how I took drivers ed right when I first started listening to it.) Anyway, there is a good instermental section near 2 and a half minutes, and this song is a highlight for the album. It ends with a beep which takes us into the next track.

Paranoid Android starts acoustic with drumming. It then has some lyrics and progresses into Yorke singing "What's there" and a computer talking in the background about a Paranoid Android. The beginning of it is one of my favorite sections of the album. It changes a little, and suddenly, the electric guitar kicks in somewhere in 2 minutes. It then turns into a loud rock song for a minute, and completely changes. It gets slower then the intro, with many "Ahhs" as Yorke sings "Rain Down" There is also over lyrics after a little. After this, the electric guitar kicks in once again and the song ends with an even better solo. This track is what basically makes this album prog.

We then have "Subterainean Homesick Alien" a title as a play on Dylans "Subteraenian Homesick Blues." The guitar in this song is very alien-ish. The chorus is my favorite part though, singing "Uptight." This is another highlight track on the album.

The next track is quite depressing. "Exit Music (For a Film)." I have yet to see a film with this Exit Music. It starts mainly acoustic, but it won't be for long. A choir is hiding behind the corner and comes in at around 1:27. The song later get's an interesting background noise, sort of avant-grade. Then drums and meletron kick in around three minutes in. It's quite a dramatic song.

Next is one of Radiohead's hits. "Let Down." This song has double lyrics, and a repeating guitar melody. It is a bit hard to understand what Yorke is saying, but that somehow makes this song better. At around 2:30, there is a buildup. This is probably the coolest part. You'll need to listen to this multiple times before you love it.

The next track is one of the best songs on the album for sure. "Karma Police" starts with piano solo and then adds lyrics with drumming and guitar. The lyrics are about hoping someone will get bad Karma. "This is what you'll get." But it is at 2:33 when one of my favorite moments of music comes in. It changes and Yorke sings "For a minute there, I lost myself." It makes me almost faint. The song progresses onward from that. Amazing track.

Then there is one of "those" songs. "Fitter Happier." It is a computer saying some inspirational stuff while music in the background that sounds like it's from Minecraft or something like that.

The next song starts with backwards sound affects. "Electioneering" then adds guitar with the insterment that Bruce Dickenson has a fever for (cowbell). It is a very intense and is about an election.

Then the music gets darker in "Climbing Up the Walls." This song has a deep environment to it. The chorus melody is pretty cool though, especially the guitar and meletron. The song adds more as it goes along and gets scarier in a way. At the end, Yorke starts screaming at the top of his lungs, weird.

Then the mood completely changes in "No Suprises." This song is happier. But it had a glocenshpele. I love that insterment, but this is just kinda boring. I don't really like this one because it is too mellow and sort of ruins the album. Many people love it though, but I don't get it.

Now we have one of the better tracks on the album. "Lucky." Remember how I said how the album has a lot about driving and car accidents? Well this is another one about that. The song is about being lucky not to be in a crash. In the second time the verse comes, there is a choir. It adds intensity to the song and makes it deeper. Lucky is a great song for its feeling.

The album ends in a great way, calming things down. "The Tourist" is the final track. People don't like it because it is too mellow for such a heavy album. However, the melody repeats "Hey man, slow down. Idiot, slow down." With a choir, this part is pure beauty. This song is a perfect conclusion, and it's a good thing that it is, mellow, because, it let's you reflect on the album. One of the best songs for sure.

So, the debate on this is: Is it prog? Yes. In the way you would consider The Moody Blues prog. You can only due so by the whole album.

Ranking of songs: 1. Paranoid Android 2. Karma Police 3. The Tourist 4. Subteraenian Homesick Alien 5. Let Down 6. Airbag 7. Lucky 8. Exit Music (For a Film) 9. Electioneering 10. Climbing Up the Walls 11. No Suprises 12. Fitter Happier

Favorite quote from the album: "For a minute there, I lost myself." -From "Karma Police

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