Radiohead
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Radiohead
How is it that Kid A’s opening track, laden with an electronic vocal stuttering “bleh, bluh-bleh bleh bluh” is the most fascinating statement made in rock & roll this year? Because somehow, even when Radiohead blathers and blips nonsense, it’s profound. The band’s future-perfect musical grammar may be hard to decipher, and the melody is even more subliminal, but the journey traveled with Radiohead reveals them to be not only rock music’s greatest adventurers in 2000, but teachers as well. —Beth Massa
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With every record, Radiohead jump off…
Radiohead
Filling the gulf between OK Computer’s epic progressive rock and Kid A’s skittering electronic theatrics, Hail to the Thief borrows equally from each. Its title implies that this will be a collection filled with songs of anger and dissent, but Radiohead no longer howl at the moon like they did on 1995’s The Bends. Instead, they use eloquent metaphors and complicated arrangements to express the uncertainty, fear and anger arising from the 2000 U.S. presidential election and a post-9/11 world. There’s no doubt about where Thom Yorke and…
Radiohead
More song-driven and acoustic than Kid A, Radiohead’s Amnesiac isn’t quite “Kid B,” but it is unquestionably cut from the same far-out cloth, as the band revels in fascinating quirks and abject nihilism. It’s also the first time in Radiohead’s career that a new record hasn’t meant a complete shift in artistic priorities. Surely, however, regardless of which was released first, they both deserve recognition; after all, Amnesiac, like Kid A, is an amazing piece of work.
Only lightly augmented with electronics, songs like “You and…
