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| Kid A | |
|---|---|
| Name | Kid A |
| Type | studio |
| Artist | Radiohead |
| Released | 2000 |
| Recorded | 1999–2000 |
| Studio | Canned Applause, Oxfordshire; Heliocentric Studios, Rye; various |
| Length | 49:57 |
| Label | Parlophone; Capitol |
| Producer | Nigel Godrich; Radiohead |
Kid A is the fourth studio album by the English rock band Radiohead. Released in October 2000, the record marked a sharp departure from the band's previous work and incorporated influences from electronic music, jazz, and avant-garde composition. Its production and promotion challenged conventional practices in the music industry and became a pivotal moment in early 21st-century popular music.
Following the global success of the 1997 album OK Computer, Radiohead retreated to write and record material that diverged from the guitar-driven sound that had defined their previous releases. The band members—including Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, and Philip Selway—worked with producer Nigel Godrich at locations such as Abbey Road Studios, Ridge Farm Studios, and Heliocentric Studios in Rye. Sessions featured collaborations with musicians associated with London Sinfonietta and input from figures linked to the electronic music scenes in Berlin and Chicago. The band experimented with analogue synthesisers like the Prophet-5 and the Modular synthesizer, as well as sampling techniques practiced by producers connected to Warp Records and Aphex Twin.
The album blends elements of ambient music, krautrock, modern classical music, and jazz, drawing on compositional ideas from figures such as Steve Reich and John Cage while referencing production aesthetics from Björn Ulvaeus-era ABBA recordings and the textural approaches of Brian Eno. Arrangements used on the album feature string and brass parts arranged in consultation with members of the London Contemporary Orchestra and players associated with the BBC Symphony Orchestra. Rhythms alternate between motorik beats inspired by Neu! and irregular meters found in the work of Charles Mingus and Miles Davis. Guitar parts are often deconstructed, processed through effects pioneered by engineers working with U2 and David Bowie, while electric piano and glockenspiel lines recall pieces by Thelonious Monk and Erik Satie.
Lyrical content emphasizes abstraction and fragmented imagery, reflecting influences from poets and writers such as T. S. Eliot, Samuel Beckett, and George Orwell. Vocal melodies sung by Thom Yorke frequently use techniques associated with sprechgesang and the plaintive delivery of Jeff Buckley. Themes touch on alienation, technological anxiety, and sociopolitical unease, resonating with cultural moments like the 1999 Seattle WTO protests and debates surrounding the dot-com bubble. The album's atmosphere parallels cinematic works by directors such as Stanley Kubrick and David Lynch, and it references visual artists in the YBA movement like Damien Hirst in its resigned, uncanny tonal palette.
The band and their label, Parlophone, adopted unconventional promotional strategies, including early internet streaming and limited pre-release listening events in cities like New York City, London, and Tokyo. The album's rollout intersected with shifts in distribution model debates involving companies such as Napster and major labels like EMI. Artwork designed in collaboration with designers associated with The Designers Republic and visual artists linked to Graphic Thought Facility featured on packaging and exhibition installations in galleries across Europe and North America. Singles and radio promotion were minimal compared with traditional campaigns, and the band staged performances on television programmes including Later... with Jools Holland and promotional appearances for broadcasters such as the BBC and MTV.
Upon release, the album received polarized responses: some critics compared it to landmark experimental records such as The Velvet Underground & Nico and Radiohead's own prior work, while others accused it of alienating mainstream audiences. Over subsequent years, publications including NME, Rolling Stone, Pitchfork, The Guardian, and The New York Times reassessed the record, placing it on lists of seminal albums of the 2000s and citing its influence on artists ranging from Bon Iver and James Blake to producers on Kendrick Lamar records. The album influenced the adoption of electronic instrumentation in indie rock and affected production choices by acts associated with labels such as 4AD and Sub Pop. Academic discourse in journals focusing on popular music studies and conferences at institutions like Oxford University and New York University has examined its impact on notions of authenticity and the album format.
The album's tracks feature a mix of studio performances, loops, and orchestral overdubs. Personnel included the five band members—Thom Yorke, Jonny Greenwood, Colin Greenwood, Ed O'Brien, Philip Selway—with production by Nigel Godrich and additional musicians drawn from ensembles linked to the London Sinfonietta and BBC Concert Orchestra. Engineers and mixers associated with studios such as Abbey Road Studios and professionals who had worked with Paul Epworth and Mark "Spike" Stent contributed to the final sound.
Category:2000 albums Category:Radiohead albums