Kid A (Collector's Edition) [Digipak]

Performer: Radiohead
Engineer: Gerard Navarro; Graeme Stewart; Nigel Godrich
Distributor: EMI Music Distribution

Notes: Includes a 28-page booklet. Radiohead: Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, Phil Selway. KID A won the 2001 Grammy Award for Best Alternative Music Album. It was nominated for the 2001 Grammy Award in the categories of Album Of The Year and Best Engineered Album. This limited edition of KID A comes as a enlarged digipack book designed by Stanley and Tchock. Radiohead: Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, Phil Selway. KID A won the 2001 Grammy Award for Best Alternative Music Album. It was nominated for the 2001 Grammy Award in the categories of Album Of The Year and Best Engineered Album. Audio Mixer: Nigel Godrich. Ensemble: Orchestra of Saint Johns. 1997's OK COMPUTER turned the rock world on its ear by bringing visionary neo-prog rock touches to a Britpop format. Consequently, KID A was one of the most anticipated releases of its era, especially since Nigel Godrich, the man behind the mixing desk for the previous album, was again on hand for this outing. On KID A, Thom Yorke's passionate wailing is put through the aural wringer, and the band's previous nimbly orchestrated full-frontal sonic assault is replaced by full-frontal electric piano, to iconoclastic effect. The ambient underpinnings and garbled vocals of "Everything in Its Right Place," and the instrumental "Treefingers," the electronic beats of "Idioteque," and Yorke's processed voice on the title track will come as quite a shock to diehard '70s rockers who spent the late '90s deifying Radiohead as heirs to the Pink Floyd throne. But these touches work brilliantly, while the more organic elements, such as the jazzy horn section on "The National Anthem," and the comparatively conservative arrangement (though there's some unsettlingly atonal orchestration lurking here, too) of "How to Disappear Completely" provide a counterpoint to all this incipient modernism. 1997's OK COMPUTER turned the rock world on its ear by bringing visionary neo-prog rock touches to a Britpop format. Consequently, KID A was one of the most anticipated releases of its era. This limited edition comes in a fine, rigid, oversized high-quality glossy paginated format, with artwork by the same hand as the regular edition, and with speculative philosophical jottings heading each page. No secret booklet, though. On KID A, Thom Yorke's passionate wailing is put through the aural wringer, and the band's previous nimbly orchestrated full-frontal sonic assault is replaced by full-frontal electric piano, to iconoclastic effect. The ambient underpinnings and garbled vocals of "Everything in Its Right Place," and the instrumental "Treefingers," the electronic beats of "Idioteque," and Yorke's processed voice on the title track will come as quite a shock to diehard '70s rockers who spent the late '90s deifying Radiohead as heirs to the Pink Floyd throne. But these touches work brilliantly, while the more organic elements, such as the jazzy horn section on "The National Anthem," and the comparatively conservative arrangement (though there's some unsettlingly atonal orchestration lurking here, too) of "How to Disappear Completely" provide a counterpoint to all this incipient modernism.

Rolling Stone (1/4/01, p.106) - Ranked #8 in Rolling Stone's Top 10 Albums of 2000. Rolling Stone (10/12/00, pp.85-6) - 4 stars out of 5 - "...A clear-eyed space opera about a plausible future....this 'is' pop, a music of ornery, glistening guile and honest ache, and it will feel good under your skin once you let it get there..." Spin (1/01, p.73) - Ranked #2 in Spin's "Top 20 Albums of the Year [2000]". Spin (10/00, pp.171-2) - 9 out of 10 - "...The songfullness emerges from the strangeness, and a beautifully sequenced CD assumes the shape of a classic LP....KID A is not only [its] bravest album but its best one as well." Spin (10/00, pp.171-2) - 9 out of 10 - "...The songfullness emerges from the strangeness, and a beautifully sequenced CD assumes the shape of a classic LP....KID A is not only [their] bravest album but its best one as well." Entertainment Weekly (10/6/00, pp.85-6) - "...A genuinely challenging work....a sonic journey..." - Rating: B+ Q (10/01, p.91) - Ranked #13 in Q's "Best 50 Albums of Q's Lifetime" Q (1/01, p.93) - Included in Q's "50 Best Albums of 2000". Q (11/00, p.96) - 3 stars out of 5 - "...Beautiful as it is strange....Musically, [its] best features are its keening, lapwing guitars and a thin, atonal orchestral drizzle....best enjoyed with the lights off..." Alternative Press (11/00, p.95) - 3 out of 5 - "...Like the soundtrack to a movie that hasn't been filmed....This is music that messes with your insides..." Magnet (1-2/01, p.45) - Included in Magnet's "20 Best Albums of 2000" - "...This year's version of R.E.M.'s UP: a genre-resistant sonic scuplture that plays wicked eardrum tricks at every turn..." The Wire (1/01, p.34) - Included in Wire's "50 Records Of The Year". Muzik (11/00, p.90) - 4 out of 5 - "...A record of experiments....This deserves your attention." CMJ (1/08/01, p.17) - Included in CMJ's "Best of the Year" for 2000. CMJ (10/2/00, p.3) - "...An epic audio experiment punctuated with raw emotion and inspiring innovation....an unquestionable masterpiece..." Vibe (11/00, p.166) - 4 discs out of 5 - "...Richly sculpted with multi-colored chords, ebbing rhythms, and oddball time measures, KID A floats...through the galaxy in search of musical cliches to annihilate..." Mojo (Publisher) (p.66) - Ranked #7 in Mojo's "100 Modern Classics" -- "[W]eeping icons of heartbreaking loveliness..." Mojo (Publisher) (10/00, p.86) - "...Intriguing, eccentric, obviously a grower....It still sounds a mess, but that's obviously the plan..." NME (Magazine) (12/30/00, p.77) - Ranked #11 in NME's "Top 50 Albums Of The Year" - "...Warp-style electronica, modern jazz....chill atmospherics and curdled, bitter soundscapes..." Pitchfork (Website) - "[A] complete album, one where everything from production to arrangements to lyrics to album art were carefully crafted towards a unified purpose." Record Collector (magazine) (p.92) - 5 stars out of 5 -- "[S]uitably liberated....These are recordings with soul..."

Radiohead burst onto the Britpop scene in the early 1990s with a clamorous, post-U2 take on guitar rock, buoyed by the hit "Creep." They subsequently developed their songwriting and production skills on THE BENDS and achieved iconic status with their breakthrough album OK COMPUTER, making art-rock cool again in the process. The mercurial band's long-awaited follow-up three years later was a sharp left turn full of ambient electronics and Can-like sonic deconstruction, and they've continued the trend with subsequent albums and solo projects. The connecting thread through all the band's phases has been Thom Yorke's intense vocal frenzy.

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