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Track List
01) Everything in Its Right Place
02) Kid A
03) The National Anthem
04) How to Disappear Completely
05) Treefingers
06) Optimistic
07) In Limbo
08) Idioteque
09) Morning Bell
10) Motion Picture Soundtrack
01) Everything in Its Right Place
02) Kid A
03) The National Anthem
04) How to Disappear Completely
05) Treefingers
06) Optimistic
07) In Limbo
08) Idioteque
09) Morning Bell
10) Motion Picture Soundtrack
4:11
4:44
5:51
5:56
3:42
5:15
3:31
5:09
4:35
6:59
Data Complete
80%
Total Rating
80%Total Rating
(5 users)
Back Cover
CD Art
3D Case
3D Thumb
3D Flat
3D Face
3D Spine
First Released
2000
Alternative Rock
Troubled
Rock/Pop
---
Medium
Album
0 copies
Album Description
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Kid A is the fourth studio album by the English rock band Radiohead, produced by Nigel Godrich and released in October 2000 on Parlophone. The album explores genres experimental for Radiohead, as the band replaced their "anthemic" rock style with sounds influenced by electronic music, 20th century classical music jazz and krautrock. A commercial success worldwide, Kid A went platinum in its first week of release in the United Kingdom. Despite the lack of an official single or music video as publicity, Kid A became the first Radiohead release to debut at number one in the United States. This success was credited variously to a unique marketing campaign, the early Internet leak of the album, and anticipation after the band's 1997 album, OK Computer.
Though the new musical direction alienated some fans and critics, Kid A received acclaim from notable music publications, and was praised for introducing rock listeners to diverse forms of underground music. In 2009, it was named the best album of the 2000s in several rankings such as Pitchfork, Rolling Stone, and The Times, and was ranked #67 in the updated version of Rolling Stone's 500 Greatest Albums of All Time. Kid A is now strongly recognized as one of the most important albums of the 2000s. It won a Grammy for Best Alternative Album and was nominated for Album of the Year.
User Album Review
By 1998 Radiohead were at breaking point. Mentally and physically exhausted, Thom Yorke ”“ forever the sickly Victorian child ”“ had been pushed too far by fame and adulation. Like many before him, the thrill of playing to a stadium full of unquestioningly adoring fans had become soured by the sheer numbing quality of constant public scrutiny. In a way, Radiohead had, with OK Computer, peaked a little early.
Unlike Roger Waters’ similar plight with stadium-filling Pink Floyd, Thom didn’t get all messianic and self-pitying. He got angry and perverse: A much better solution.
The fact was that writer’s block had (understandably) descended. In the initial sessions with producer Nigel Godrich, Yorke arrived with half-finished lyrics and little else. A radical shift was needed. But instead of retreating into what the band knew best ”“ era-defining indie rock - they took a leaf out of what was intriguing them at the time. And that was jazz, classical music and modern electronica in the guise of the Aphex Twin and his cohorts on Sheffield’s Warp label.
Suddenly, as Ed O’Brien’s now-famous blog of the recording process related, things started getting weird. Primarily a guitar and drums-driven band, suddenly they were producing songs with little of either. What’s more the whole shape of such ‘songs’ was being lost.
Instead the band began each song as an experiment on how to work in new ways. They sampled other artists ("Idioteque") themselves. They conducted a brass ensemble ("The National Anthem"). They tried to transmute their previous dread into art ("How To Disappear Completely"). This was rock finally growing out of its six-string straightjacket and embraciong cutting-edge advances in sound. Vaguely concerning itself with anti-commercialism and globalism in general, it left all listeners with a sense of the madness of modern life. Job well done!
And just as the band were about to unleash this monster on the world they nearly fell at the last hurdle; falling out badly over the running order. But more remarkable was the way in which Kid A was unveiled. Playing new songs live, they freely allowed fans to record and share their bootlegs on the web. After a couple of gigs the rabid masses who had nearly torn Radiohead apart were singing along to some of the most wilfully un-commercial music to reach #1 on the album charts. Having broken this barrier, the world really was their oyster.
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User Comments
Available in:
Kid A is the fourth studio album by the English rock band Radiohead, produced by Nigel Godrich and released in October 2000 on Parlophone. The album explores genres experimental for Radiohead, as the band replaced their "anthemic" rock style with sounds influenced by electronic music, 20th century classical music jazz and krautrock. A commercial success worldwide, Kid A went platinum in its first week of release in the United Kingdom. Despite the lack of an official single or music video as publicity, Kid A became the first Radiohead release to debut at number one in the United States. This success was credited variously to a unique marketing campaign, the early Internet leak of the album, and anticipation after the band's 1997 album, OK Computer.
Though the new musical direction alienated some fans and critics, Kid A received acclaim from notable music publications, and was praised for introducing rock listeners to diverse forms of underground music. In 2009, it was named the best album of the 2000s in several rankings such as Pitchfork, Rolling Stone, and The Times, and was ranked #67 in the updated version of Rolling Stone's 500 Greatest Albums of All Time. Kid A is now strongly recognized as one of the most important albums of the 2000s. It won a Grammy for Best Alternative Album and was nominated for Album of the Year.
User Album Review
By 1998 Radiohead were at breaking point. Mentally and physically exhausted, Thom Yorke ”“ forever the sickly Victorian child ”“ had been pushed too far by fame and adulation. Like many before him, the thrill of playing to a stadium full of unquestioningly adoring fans had become soured by the sheer numbing quality of constant public scrutiny. In a way, Radiohead had, with OK Computer, peaked a little early.
Unlike Roger Waters’ similar plight with stadium-filling Pink Floyd, Thom didn’t get all messianic and self-pitying. He got angry and perverse: A much better solution.
The fact was that writer’s block had (understandably) descended. In the initial sessions with producer Nigel Godrich, Yorke arrived with half-finished lyrics and little else. A radical shift was needed. But instead of retreating into what the band knew best ”“ era-defining indie rock - they took a leaf out of what was intriguing them at the time. And that was jazz, classical music and modern electronica in the guise of the Aphex Twin and his cohorts on Sheffield’s Warp label.
Suddenly, as Ed O’Brien’s now-famous blog of the recording process related, things started getting weird. Primarily a guitar and drums-driven band, suddenly they were producing songs with little of either. What’s more the whole shape of such ‘songs’ was being lost.
Instead the band began each song as an experiment on how to work in new ways. They sampled other artists ("Idioteque") themselves. They conducted a brass ensemble ("The National Anthem"). They tried to transmute their previous dread into art ("How To Disappear Completely"). This was rock finally growing out of its six-string straightjacket and embraciong cutting-edge advances in sound. Vaguely concerning itself with anti-commercialism and globalism in general, it left all listeners with a sense of the madness of modern life. Job well done!
And just as the band were about to unleash this monster on the world they nearly fell at the last hurdle; falling out badly over the running order. But more remarkable was the way in which Kid A was unveiled. Playing new songs live, they freely allowed fans to record and share their bootlegs on the web. After a couple of gigs the rabid masses who had nearly torn Radiohead apart were singing along to some of the most wilfully un-commercial music to reach #1 on the album charts. Having broken this barrier, the world really was their oyster.
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