Radiohead - Kid A
Parlophone
October 2nd, 2000.
Radiohead's dip into electronic pastures came into view on this day 25 years ago. The end-of-time tones that the bands previous albums dwelled within would take on a fresh sonic form. Everything in its right place - not a speck out of position; not a breath out of rhythm; not a thought out of decision; not a moment out of alignment.
A contender for biggest left-turn in mainstream music history, Kid A saw a band at the height of their powers ditch their destined path for one of questioned reverence. The guitars that were prevalent on their previous three records were somewhat put back on the rack; synthesizers and quirky bits of kit were brought into view. Landscapes of vast, glacial horizons and meandering streams were sought out as the new mode of being. Elements of electronic-y bits can be found on predecessor OK Computer, but they remained as elements, and not the full-on conduit to exist through. In usual Radiohead fashion, isolation and detachment sit center to the albums thematic framing.
Living in fantasy worlds - fame. Disillusioned. Sleeping pills for breakfast, lunch and dinner. White lies fed through the gadgets that keep you alive. Cheap sex and sad films. Walking through walls, floating down the Liffey. Puppets control you, you're not here. Writers block. Stream of unconscious. When words don't quite work, dive into worlds. Why describe what you're going through when you can create it in sonic form? It can speak through you, for you.
"The National Anthem" is about as straight forward as Radiohead get. Pulsing, driving basslines and drums propel the track forwards. Rising mellotrons(as far as I can tell) build up tension with their sweeping rise-and-falls. Yorke's lyrics of "Everyone. Everyone around here. Everyone is so near, just holding on." paints pictures of desperation; a world on its last legs; a fragmented, foundation-less existence; plenty of people, but no purpose.
Like falling into a surrealistic daydream. One where panic attacks dance on the tips of your fingers; your eyes catch the light at all the wrong angles; dinosaurs roam the earth; trap doors at each and every step - one giant red alert after the other.
To be considered in the greatest of all-time debate you have to have a major left-turn in the catalogue somewhere along the line. It's the moment an artists versatility, willingness and artistic fortitude are put up to the light - can they keep the wheels on the road, while steering the infinite-tonne truck on unforeseen paths? When undertaken with the right intent it frames the journey.
I will see you in the next life....
