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Radiohead
Kid A
Capitol
By now, you already know to look for the booklet hidden underneath the jewel tray. Admittedly, it’s not much of an adventure. But it is significant when you consider that Radiohead have made the art of discovery- that alluring tension between curiosity and knowledge- a considerable portion of Kid A’s technique. As if yanking on a thin thread to unravel the band’s spectacle of sound and lyrical enigma, this CD unfolds with a beauty and mystery that’s unparalleled. And not just in its majestic delivery- where every effect, every sample, and every phonetic gesture echoes like a monument. But in its unusual merger of forlorn balladry and subtle playing with complex digital editing, that refines the accomplishments of OK Computer. While the ample use of synth-generated audio collages (like the thousands of voice-overs of “Everything In Its Right Place”) and ambient-ethereal instrumentals (like the haunting “Treefingers”) may disappoint the few purist fans, those anticipating Radiohead to plow, headfirst into a futuristic progression will be swept up by Kid A’s rok/tekno/pop. For instance, the stripped-down hop beats for “Idioteque” are shuffled into a droney, introspective malaise, a sort of d’n’b-meets-Syd Barrett mix that uses the noisey portions of a 1976 electro-classical album (with works by Paul Lansky and Arthur Kreiger) in the solo spotlight. Likewise, for a band that boasts three guitarists, none of them shows up until the fourth track, where the softly-strummed acoustics give “How To Disappear Completely” its earthy edge, before disembarking the planet from the impending Ice Age (the disc’s general theme). All the songs are very moody, very passionate, and yet, remarkably unpretentious considering the baggage given to high concept works (especially with this three-years-in-the-making tome). But if this generation ever admits to discovering their own watershed/watermark recording like “Dark Side Of The Moon,” this album may be one for the ages. –peter moore
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