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Kid A

May 05, 2023

Kid A is the fourth studio album by the English rock band Radiohead, released on 2 October 2000 by Parlophone. It was recorded with their producer, Nigel Godrich, in Paris, Copenhagen, Gloucestershire and Oxfordshire.

Kid A
Studio album by
Radiohead
Released2 October 2000 (2000-10-02)
Recorded4 January 1999 – 18 April 2000[1]
Studio
  • Guillaume Tell, Paris
  • Medley, Copenhagen
  • Radiohead studio, Oxfordshire
Genre
Length49:56
Label
Producer
Radiohead chronology
Airbag / How Am I Driving?
(1998) 		Kid A
(2000) 		Amnesiac
(2001)

After the stress of promoting Radiohead's 1997 album OK Computer, the songwriter, Thom Yorke, wanted to depart from rock music. Drawing influence from electronic music, ambient music, krautrock, jazz and 20th-century classical music, Radiohead used instruments such as modular synthesisers, the ondes Martenot, brass and strings. They processed guitar sounds, incorporated samples and loops, and manipulated their recordings with software. Yorke wrote impersonal and abstract lyrics, cutting up phrases and assembling them at random.

In a departure from industry practice, Radiohead released no singles or music videos and conducted few interviews and photoshoots. Instead, they released short animated "blips", and became one of the first major acts to use the internet for promotion. Bootlegs of early performances were shared on filesharing services, and Kid A was leaked before release. In 2000, Radiohead toured Europe in a custom-built tent without corporate logos.

Kid A debuted at the top of the UK Albums Chart and became Radiohead's first number-one album on the Billboard 200 in the US, where it sold more than 207,000 copies in its first week. Its departure from Radiohead's earlier sound divided listeners, and some dismissed it as pretentious, deliberately obscure, or derivative. However, it later attracted acclaim; at the end of the decade, Rolling Stone, Pitchfork and the Times ranked Kid A the greatest album of the 2000s, and in 2020 Rolling Stone ranked it number 20 on its updated list of the "500 Greatest Albums of All Time". Like OK Computer, it won the Grammy Award for Best Alternative Album and was nominated for the Grammy Award for Album of the Year. It has been certified platinum in Australia, Canada, France, Japan, the US and the UK.

A second album of material from the sessions, Amnesiac, was released eight months later. Kid A Mnesia, an anniversary reissue compiling Kid A, Amnesiac and previously unreleased material, was released in 2021.

Background

Following the critical and commercial success of their 1997 album OK Computer, the members of Radiohead suffered burnout.[2] The songwriter, Thom Yorke, became ill, describing himself as "a complete fucking mess ... completely unhinged".[2] He was troubled by new acts he felt were imitating Radiohead[3] and became hostile to the music media.[2][4] He told The Observer: "I always used to use music as a way of moving on and dealing with things, and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding. And I couldn't handle that."[5]

Yorke suffered from writer's block and could not finish writing songs on guitar.[6] He became disillusioned with the "mythology" of rock music, feeling the genre had "run its course".[5] He began to listen almost exclusively to the electronic music of artists signed to the record label Warp, such as Aphex Twin and Autechre. Yorke said: "It was refreshing because the music was all structures and had no human voices in it. But I felt just as emotional about it as I'd ever felt about guitar music."[2] He liked the idea of his voice being used as an instrument rather than having a leading role, and wanted to focus on sounds and textures instead of traditional songwriting.[3]

Yorke bought a house in Cornwall and spent his time walking the cliffs and drawing, restricting his musical activity to playing the grand piano he had recently bought.[7] "Everything in Its Right Place" was the first song he wrote.[7] He described himself as a "shit piano player", with little knowledge of electronic instruments: "I remember this Tom Waits quote from years ago, that what keeps him going as a songwriter is his complete ignorance of the instruments he's using. So everything's a novelty. That's one of the reasons I wanted to get into computers and synths, because I didn't understand how the fuck they worked. I had no idea what ADSR meant."[8]

The guitarist Ed O'Brien had hoped Radiohead's fourth album would comprise short, melodic guitar songs, but Yorke said: "There was no chance of the album sounding like that. I'd completely had it with melody. I just wanted rhythm. All melodies to me were pure embarrassment."[6] The bassist, Colin Greenwood, said: "We felt we had to change everything. There were other guitar bands out there trying to do similar things. We had to move on."[9]

Recording

See also: Amnesiac recording
 
Greenwood performing on an ondes Martenot in 2010

Radiohead were building their own studio in Oxfordshire, which Yorke wanted to use as the German band Can had used their studio in Cologne, recording everything they played and then editing it down.[6] However, the studio would not be complete until late 1999, so the band began work in Guillaime Tell Studios, Paris, in January 1999.[6][10]

Radiohead worked with the OK Computer producer Nigel Godrich and no deadline. Yorke, who had the greatest control, was still facing writer's block.[6] His new songs were incomplete, and some consisted of little more than sounds or rhythms; few had clear verses or choruses.[6] Yorke's lack of lyrics created problems, as these had provided points of reference and inspiration for his bandmates in the past.[11]

The group struggled with Yorke's new direction. According to Godrich, Yorke did not communicate much,[12] and according to Yorke, Godrich "didn't understand why, if we had such a strength in one thing, we would want to do something else".[13] The lead guitarist, Jonny Greenwood, feared "awful art-rock nonsense just for its own sake".[6] His brother Colin did not enjoy Yorke's Warp influences, finding them "really cold".[11] The other band members were unsure of how to contribute, and considered leaving.[11] O'Brien said: "It's scary – everyone feels insecure. I'm a guitarist and suddenly it's like, well, there are no guitars on this track, or no drums."[6]

Radiohead experimented with electronic instruments including modular synthesisers and the ondes Martenot, an early electronic instrument similar to a theremin, and used software such as Pro Tools and Cubase to edit and manipulate their recordings.[6] They found it difficult to use electronic instruments collaboratively; according to Yorke, "We had to develop ways of going off into corners and build things on whatever sequencer, synthesiser or piece of machinery we would bring to the equation and then integrate that into the way we would normally work."[14] O'Brien began using sustain units, which allow guitar notes to be sustained infinitely, combined with looping and delay effects to create synthesiser-like sounds.[15]

In March, Radiohead moved to Medley Studios in Copenhagen for two weeks,[6] which were unproductive.[12] The sessions produced about 50 reels of tape, each containing 15 minutes of music, with nothing finished.[6] In April, Radiohead resumed recording in a mansion in Batsford Park, Gloucestershire.[6] The lack of deadline and the number of incomplete ideas made it hard to focus,[6] and the group held tense meetings.[12] They agreed to disband if they could not agree on an album worth releasing.[6]

In July, O'Brien began keeping an online diary of Radiohead's progress.[16] Radiohead moved to their new studio in Oxfordshire in September.[6] In November, Radiohead held a live webcast from their studio, featuring a performance of new music and a DJ set.[17] By 2000, six songs were complete.[6] In January, at Godrich's suggestion, Radiohead split into two groups: one would generate a sound or sequence without acoustic instruments such as guitars or drums, and the other would develop it. Though the experiment produced no finished songs, it helped convince O'Brien of the potential of electronic instruments.[6]

On 19 April 2000, Yorke wrote on Radiohead's website that they had finished recording.[18] Having completed over 20 songs,[19] Radiohead considered releasing a double album, but felt the material was too dense.[20] Instead, they saved half the songs for their next album, Amnesiac, released the following year. Yorke said Radiohead split the work into two albums because "they cancel each other out as overall finished things. They come from two different places."[21] He observed that deciding the track list was not just a matter of choosing the best songs, as "you can put all the best songs in the world on a record and they'll ruin each other".[22] He cited the later Beatles albums as examples of effective sequencing: "How in the hell can you have three different versions of 'Revolution' on the same record and get away with it? I thought about that sort of thing."[22] Agreeing on the track list created arguments, and O'Brien said the band came close to breaking up: "That felt like it could go either way, it could break ... But we came in the next day and it was resolved."[23] The album was mastered by Chris Blair in Abbey Road Studios, London.[24]

Tracks

 
Radiohead recorded the strings for "How to Disappear Completely" in Dorchester Abbey, Oxfordshire.

Radiohead worked on the first track, "Everything in Its Right Place", in a conventional band arrangement in Copenhagen and Paris, but without results.[25] In Gloucestershire,[25] Yorke and Godrich transferred the song to a Prophet-5 synthesiser,[26] and Yorke's vocals were processed in Pro Tools using a scrubbing tool.[27] O'Brien and the drummer, Philip Selway, said the track helped them accept that not every song needed every band member to play on it. O'Brien recalled: "To be genuinely sort of delighted that you'd been working for six months on this record and something great has come out of it, and you haven't contributed to it, is a really liberating feeling."[25] Jonny Greenwood described it as a turning point for the album: "We knew it had to be the first song, and everything just followed after it."[28]

Yorke wrote an early version of "The National Anthem" when the band was still in school.[29] In 1997, Radiohead recorded drums and bass for the song, intending to develop it as a B-side for OK Computer, but decided to keep it for their next album.[30] For Kid A, Greenwood added ondes Martenot and sounds sampled from radio stations,[29] and Yorke's vocals were processed with a ring modulator.[31] In November 1999,[31] Radiohead recorded a brass section inspired by the "organised chaos" of Town Hall Concert by the jazz musician Charles Mingus, instructing the musicians to sound like a "traffic jam".[32]

The strings on "How to Disappear Completely" were performed by the Orchestra of St John's and recorded in Dorchester Abbey, a 12th-century church about five miles from Radiohead's Oxfordshire studio.[33][34] Radiohead chose the orchestra as they had performed pieces by Penderecki and Messiaen.[32] Jonny Greenwood, the only Radiohead member trained in music theory, composed the string arrangement by multitracking his ondes Martenot.[29] According to Godrich, when the orchestra members saw Greenwood's score "they all just sort of burst into giggles, because they couldn't do what he'd written, because it was impossible – or impossible for them, anyway".[35] The orchestra leader, John Lubbock, encouraged them to experiment and work with Greenwood's ideas.[36] The concerts director, Alison Atkinson, said the session was more experimental than the orchestra's usual bookings.[33]

Radiohead sampled this portion of "Mild und Leise", a 1973 computer music composition by Paul Lansky, for "Idioteque".

"Idioteque" samples two computer music pieces, Paul Lansky's "Mild und Leise" and Arthur Kreiger's "Short Piece". Both samples were taken from Electronic Music Winners, a 1976 experimental music LP which Jonny Greenwood stumbled upon while the band was working on Kid A.[3] The track was built from a drum machine pattern Greenwood created with a modular synthesiser and a sample from "Mild und Leise".[29][37] He gave the 50-minute recording to Yorke, who took a short section of it and used it to write the song.[37] Yorke also referred to electronic dance music when talking about "Idioteque", and said that the song was "an attempt to capture that exploding beat sound where you're at the club and the PA's so loud, you know it's doing damage".[3]

"Motion Picture Soundtrack" was written before Radiohead's debut single "Creep" (1992),[38] and Radiohead recorded a version on piano during the OK Computer sessions.[39] For Kid A, Yorke recorded it on a pedal organ, influenced by the songwriter Tom Waits. The band added harp samples and double bass, attempting to emulate the soundtracks of 1950s Disney films.[29][40] Radiohead also worked on several songs they did not complete until the recording sessions for future albums, including "Nude",[41] "Burn the Witch"[42] and "True Love Waits".[43]

Music

Style and influences

 
"Kid A"
The title track, a heavily processed electronic piece, demonstrates both Radiohead's increasing ambient electronic influences and the distortion of Yorke's voice, extensively done on the album.
"The National Anthem"
This song, featuring a horn section improvising over a repetitive bassline, demonstrates the band's increasing influence from jazz during this time period. Yorke cited Charles Mingus as his main inspiration here.
Problems playing these files? See media help.

Kid A incorporates influences from electronic artists on Warp Records[6] such as 1990s IDM artists Autechre and Aphex Twin;[2] 1970s Krautrock bands such as Can;[6] the jazz of Charles Mingus,[32] Alice Coltrane and Miles Davis;[3] and abstract hip hop from the Mo'Wax label, including Blackalicious and DJ Krush.[44] Yorke cited Remain in Light (1980) by Talking Heads as a "massive reference point".[45] Björk was another major influence,[46][31] particularly her 1997 album Homogenic,[47] as was the Beta Band.[48] Radiohead attended an Underworld concert which helped renew their enthusiasm in a difficult moment.[49]

The string orchestration for "How to Disappear Completely" was influenced by Polish composer Krzysztof Penderecki.[2] Jonny Greenwood's use of the ondes Martenot on this and several other Kid A songs was inspired by Olivier Messiaen, who popularised the instrument and was one of Greenwood's teenage heroes.[50] Greenwood described his interest in mixing old and new music technology,[50] and during the recording sessions Yorke read Ian MacDonald's Revolution in the Head, which chronicles the Beatles' recordings with George Martin during the 1960s.[3] The band also sought to combine electronic manipulations with jam sessions in the studio, stating their model was the German group Can.[6]

Kid A has been described as a work of electronica,[51][52][53] experimental rock,[54] post-rock,[55][56] alternative rock,[57] post-prog,[58] ambient,[59] electronic rock,[60] art rock,[61] and art pop.[62] Though guitar is less prominent than on previous Radiohead albums, guitars were still used on most tracks.[3] "Treefingers", an ambient instrumental, was created by digitally processing O'Brien's guitar loops.[40] Many of Yorke's vocals were manipulated with effects; for example, his vocals on the title track were simply spoken, then vocoded with the ondes Martenot to create the melody.[3]

Lyrics

Yorke's lyrics on Kid A are less personal than on earlier albums, and instead incorporate abstract and surreal themes.[63] He cut up phrases and assembled them at random, combining cliches and banal observations; for example, "Morning Bell" features repeated contrasting lines such as "Where'd you park the car?" and "Cut the kids in half".[64] Yorke denied that he was "trying to get anything across" with the lyrics, and described them as "like shattered bits of mirror ... like pieces of something broken. ... it's not like I'm trying to get anything across."[22]

Yorke cited David Byrne's approach to lyrics on Remain in Light as an influence: "When they made that record, they had no real songs, just wrote it all as they went along. Byrne turned up with pages and pages, and just picked stuff up and threw bits in all the time. And that's exactly how I approached Kid A."[3] Radiohead used Yorke's lyrics "like pieces in a collage ... [creating] an artwork out of a lot of different little things".[6] The lyrics are not included in the liner notes, as Radiohead felt they could not be considered independently of the music,[65] and Yorke did not want listeners to focus on them.[3]

Yorke wrote "Everything in Its Right Place" about the depression he experienced on the OK Computer tour, feeling he could not speak.[66] The refrain of "How to Disappear Completely" was inspired by R.E.M. singer Michael Stipe, who advised Yorke to relieve tour stress by repeating to himself: "I'm not here, this isn't happening".[67] The refrain of "Optimistic" ("try the best you can / the best you can is good enough") was an assurance by Yorke's partner, Rachel Owen, when Yorke was frustrated with the band's progress.[6] The title Kid A came from a filename on one of Yorke's sequencers.[68] Yorke said he liked its "non-meaning", saying: "If you call [an album] something specific, it drives the record in a certain way."[5]

Artwork

The Kid A artwork and packaging was created by Yorke with Stanley Donwood, who has worked with Radiohead since their 1994 EP My Iron Lung.[69] Donwood painted on large canvases with knives and sticks, then photographed the paintings and manipulated them with Photoshop.[70] While working on the artwork, Yorke and Donwood became "obsessed" with the Worldwatch Institute website, which was full of "scary statistics about ice caps melting, and weather patterns changing"; this inspired them to use an image of a mountain range as the cover art.[71] Donwood said he saw the mountains as "some sort of cataclysmic power".[72]

Donwood was inspired by a photograph taken during the Kosovo War depicting a square metre of snow full of the "detritus of war", such as military equipment and cigarette stains. He said: "I was upset by it in a way war had never upset me before. It felt like it was happening in my street."[70] The red swimming pool on the album spine and disc was inspired by the 1988 graphic novel Brought to Light by Alan Moore and Bill Sienkiewicz, in which the number of people killed by state terrorism is measured in swimming pools filled with blood. Donwood said this image "haunted" him during the recording of the album, calling it "a symbol of looming danger and shattered expectations".[73] Yorke and Donwood cited a Paris exhibition of paintings by David Hockney as another influence.[74]

Yorke and Donwood made many versions of the album cover, with different pictures and different titles in different typefaces. Unable to pick one, they taped them to cupboards of the studio kitchen and went to bed. According to Donwood, the choice the next day "was obvious".[75] In October 2021, Yorke and Donwood curated an exhibition of Kid A artwork at Christie's headquarters in London.[76]

Promotion

 
Kid A's promotional campaign introduced the "Modified Bear" logo, used for later Radiohead marketing and merchandise.[77][a]

Radiohead minimised their involvement in promotion for Kid A,[81] conducting few interviews or photoshoots.[82] Though "Optimistic" and promotional copies of other tracks received radio play, Radiohead released no singles from the album. Yorke said this was to avoid the stress of publicity, which he had struggled with on OK Computer, rather than for artistic reasons.[81]

No advance copies of Kid A were circulated,[83] but it was played under controlled conditions for critics and fans.[84] Radiohead were careful to present it as a cohesive work rather than a series of separate tracks. Rather than give EMI executives their own copies, they had them listen to the album in its entirety on a bus from Hollywood to Malibu.[85] Rob Gordon, the vice president of marketing at Capitol Records, the American subsidiary of Radiohead's label EMI, praised the album but said promoting it would be a "business challenge".[86] Promotional copies of Kid A came with stickers prohibiting broadcast before September 19. At midnight, it was played in its entirety by the London radio station Xfm.[87] MTV2,[88] KROQ, and WXRK also played the album in its entirety.[2]

Rather than agree to a standard magazine photoshoot for Q, Radiohead supplied digitally altered portraits, with their skin smoothed, their irises recoloured, and Yorke's drooping eyelid removed. The Q editor Andrew Harrison described the images as "aggressively weird to the point of taking the piss ... All five of Radiohead had been given the aspect of gawking aliens."[89] Yorke said: "I'd like to see them try to put these pictures on a poster."[89] Q projected the images onto the Houses of Parliament, placed them on posters and billboards in the London Underground and on the Old Street Roundabout, and had them printed on key rings, mugs and mouse mats, to "turn Radiohead back into a product".[89]

Instead of releasing traditional music videos for Kid A, Radiohead commissioned dozens of 10-second videos featuring Donwood artwork they called "blips", which were aired on music channels and distributed online.[90] Pitchfork described them as "context-free animated nightmares that radiated mystery", with "arch hints of surveillance".[91] Five of the videos were serviced as exclusives to MTV, and "helped play into the arty mystique that endeared Radiohead to its core audience", according to Billboard.[92] Much of the promotional material featured pointy-toothed bear characters created by Donwood. The bears originated in stories Donwood made for his young children about teddy bears who came to life and ate the "grown-ups" who had abandoned them.[75]

Internet

Everything in the industry at that point was like, "The internet isn't important. It's not selling records" – everything for them had to translate to a sale. I knew the internet was [generating sales], but I couldn't prove it because every record had MTV and radio with it. [After Kid A was a success], nobody in the industry could believe it because there was no radio and there was no traditional music video. I knew at that point: this is the story of the internet. The internet has done this.

– Capitol executive Robin Sloan Bechtel, 2015[85]

Though Radiohead had experimented with internet promotion for OK Computer in 1997, by 2000 online music promotion was not widespread,[93] with record labels still reliant on MTV and radio.[85] Donwood wrote that EMI was not interested in the Radiohead website, and left him and the band to update it with "discursive and random content".[75]

To promote Kid A, Capitol created the "iBlip", a Java applet that could be embedded in fan sites. It allowed users to stream the album, and included artwork, photos and links to order Kid A on Amazon.[86][85] It was used by more than 1000 sites, and the album was streamed more than 400,000 times.[85] Capitol also streamed Kid A through Amazon, MTV.com and heavy.com, and ran a campaign with the peer-to-peer filesharing service Aimster, allowing users to swap iBlips and Radiohead-branded Aimster skins.[86]

Three weeks before release, Kid A was leaked online and shared on the peer-to-peer service Napster. Asked whether he believed Napster had damaged sales, Capitol president Ray Lott likened the situation to unfounded concern about home taping in the 1980s and said: "I'm trying to sell as many Radiohead albums as possible. If I worried about what Napster would do, I wouldn't sell as many albums."[86] Yorke said Napster "encourages enthusiasm for music in a way that the music industry has long forgotten to do".[94]

Tour

Radiohead rearranged the Kid A songs to perform them live. O'Brien said, "You couldn't do Kid A live and be true to the record. You would have to do it like an art installation ... When we played live, we put the human element back into it."[95] Selway said they "found some new life" in the songs when they came to perform them.[95]

In mid-2000, months before Kid A was released, Radiohead toured the Mediterranean, performing Kid A and Amnesiac songs for the first time.[96] Fans shared concert bootlegs online. Colin Greenwood said: "We played in Barcelona and the next day the entire performance was up on Napster. Three weeks later when we got to play in Israel the audience knew the words to all the new songs and it was wonderful."[97] Later that year, Radiohead toured Europe in a custom-built tent without corporate logos, playing mostly new songs.[98] The tour included a homecoming show in South Park, Oxford, with supporting performances by Humphrey Lyttelton (who performed on Amnesiac), Beck and Sigur Rós.[99] According to the journalist Alex Ross, the show may have been the largest public gathering in Oxford history.[100]

Radiohead also performed three concerts in North American theatres, their first in nearly three years. The small venues sold out rapidly, attracting celebrities, and fans camped overnight.[4] In October, Radiohead performed on the American TV show Saturday Night Live; the performance shocked viewers expecting rock songs, with Jonny Greenwood playing electronic instruments, the house brass band improvising over "The National Anthem", and Yorke dancing erratically to "Idioteque".[101] Rolling Stone described the Kid A tour as "a revelation, exposing rock and roll humanity" in the songs.[95] In November 2001, Radiohead released I Might Be Wrong: Live Recordings, comprising performances from the Kid A and Amnesiac tours.[101]

Sales

Kid A reached number one on Amazon's sales chart, with more than 10,000 pre-orders.[86] It debuted at number one on the UK Albums Chart,[82] selling 55,000 copies in its first day – the biggest first-day sales of the year and more than every other album in the top ten combined.[82] Kid A also debuted at number one on the US Billboard 200,[102] selling more than 207,000 copies in its first week.[103] It was Radiohead's first US top-20 album, and the first US number one in three years for any British act.[86][104] Kid A also debuted at number one in Canada, where it sold more than 44,000 copies in its first week,[103] and in France, Ireland and New Zealand. European sales slowed on 2 October 2000, the day of release, when EMI recalled 150,000 faulty CDs.[82] By June 2001, Kid A had sold 310,000 copies in the UK, less than a third of OK Computer sales.[105] It is certified platinum in the UK, Australia, Canada, France, Japan and the US.

Critical reception

Professional ratings
Contemporary reviews
Aggregate scores
SourceRating
Metacritic80/100[106]
Review scores
SourceRating
Chicago Sun-Times    [107]
The Encyclopedia of Popular Music     [108]
Entertainment WeeklyB+[109]
The Guardian     [110]
Melody Maker     [111]
NME7/10[112]
Pitchfork10/10[113]
Q     [114]
Rolling Stone     [62]
Spin9/10[115]
The Village VoiceA−[116]

Kid A was widely anticipated;[117][33] Spin described it as the most anticipated rock record since Nirvana's In Utero.[118] According to Andrew Harrison, the editor of Q, journalists expected it to provide more of the "rousing, cathartic, lots-of-guitar, Saturday-night-at-Glastonbury big future rock moments" of OK Computer.[89] Months before its release, Pat Blashill of Melody Maker wrote: "If there's one band that promises to return rock to us, it's Radiohead."[33]

After Kid A had been played for critics, many bemoaned the lack of guitar, obscured vocals, and unconventional song structures,[2] and some called the album "a commercial suicide note".[5] The Guardian wrote of the "muted electronic hums, pulses and tones", predicting that it would confuse listeners.[2] In Mojo, Jim Irvin wrote that "upon first listen, Kid A is just awful ... Too often it sounds like the fragments that they began the writing process with – a loop, a riff, a mumbled line of text, have been set in concrete and had other, lesser ideas piled on top."[119] The Guardian critic Adam Sweeting wrote that "even listeners raised on krautrock or Ornette Coleman will find Kid A a mystifying experience", and that it pandered to "the worst cliches" about Radiohead's "relentless miserabilism".[110]

Several critics felt Kid A was pretentious or deliberately obscure. The Irish Times bemoaned the lack of conventional song structures and panned the album as "deliberately abstruse, wilfully esoteric and wantonly unfathomable ... The only thing challenging about Kid A is the very real challenge to your attention span."[117] In the New Yorker, the novelist Nick Hornby wrote that it was "morbid proof that this sort of self-indulgence results in a weird kind of anonymity rather than something distinctive and original".[120] The Melody Maker critic Mark Beaumont called it "tubby, ostentatious, self-congratulatory, look-ma-I-can-suck-my-own-cock whiny old rubbish ... About 60 songs were started that no one had a bloody clue how to finish."[111] Alexis Petridis of The Guardian described it as "self-consciously awkward and bloody-minded, the noise made by a band trying so hard to make a 'difficult' album that they felt it beneath them to write any songs".[105] Rolling Stone published a piece by Michael Krugman and Jason Cohen mocking Kid A as humourless, derivative and lacking in songs. They wrote: "Because it was decided that Radiohead were Important and Significant last time around, no one can accept the album as the crackpot art project it so obviously is."[121]

Some critics felt Kid A was unoriginal. In the New York Times, Howard Hampton dismissed Radiohead as a "rock composite" and wrote that Kid A "recycles Pink Floyd's dark-side-of-the-moon solipsism to Me-Decade perfection".[122] Beaumont said Radiohead were "simply ploughing furrows dug by DJ Shadow and Brian Eno before them".[111] The Irish Times felt the ambient elements were inferior to Eno's 1978 album Music For Airports and its "scary" elements inferior to Scott Walker's 1995 album Tilt.[117] Select wrote: "What do they want for sounding like the Aphex Twin circa 1993, a medal?"[123] In a retrospective, the journalist Rob Sheffield wrote that the "mastery of Warp-style electronic effects" had appeared "clumsy and dated" at the time of Kid A's release.[123] In an NME editorial, James Oldham wrote that the electronic influences were "mired in compromise", with Radiohead still operating as a rock band, and concluded: "Time will judge it. But right now, Kid A has the ring of a lengthy, over-analysed mistake."[124] Rob Mitchell, the co-founder of Warp, felt Kid A represented "an honest interpretation of [Warp] influences" and was not gratuitously electronic. He predicted it might one day be seen in the same way as David Bowie's 1977 album Low, which alienated some Bowie fans but was later acclaimed.[125]

AllMusic gave Kid A a favourable review, but wrote that it "never is as visionary or stunning as OK Computer, nor does it really repay the intensive time it demands in order for it to sink in".[101] The NME review was also positive, but described some songs as "meandering" and "anticlimactic", and concluded: "For all its feats of brinkmanship, the patently magnificent construct called Kid A betrays a band playing one-handed just to prove they can, scared to commit itself emotionally."[4] In Rolling Stone, David Fricke called Kid A "a work of deliberately inky, often irritating obsession ... But 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."[62]

Spin said Kid A was "not the act of career suicide or feat of self-indulgence it will be castigated as", and predicted that fans would recognise it as Radiohead's best and "bravest" album.[115] Billboard described it as "an ocean of unparalleled musical depth" and "the first truly groundbreaking album of the 21st century".[126] The music journalist Robert Christgau wrote that Kid A was "an imaginative, imitative variation on a pop staple: sadness made pretty".[116] The Village Voice called it "oblique oblique oblique ... Also incredibly beautiful."[127] Brent DiCrescenzo of Pitchfork gave Kid A a perfect score, calling it "cacophonous yet tranquil, experimental yet familiar, foreign yet womb-like, spacious yet visceral, textured yet vaporous, awakening yet dreamlike". He concluded that Radiohead "must be the greatest band alive, if not the best since you know who".[113] The piece was one of the first Kid A reviews posted online; shared widely by Radiohead fans, it helped popularise Pitchfork and became notorious for its "obtuse" writing.[128]

At Metacritic, which aggregates ratings from critics, Kid A has a score of 80 based on 24 reviews, indicating "generally favourable reviews".[106] It was named one of the best albums of 2000 by publications including the Los Angeles Times, Spin, Melody Maker, Mojo, NME, Pitchfork, Q, the Times, Uncut and the Wire.[129] At the 2001 Grammy Awards, Kid A was nominated for Album of the Year and won for Best Alternative Album.[130][131]

Legacy

Professional ratings
Retrospective reviews
Review scores
SourceRating
AllMusic     [51]
The A.V. ClubA[132]
Pitchfork10/10[133]
Q     [134]
Record Collector     [135]
The Rolling Stone Album Guide     [136]

In the years following its release, Kid A attracted acclaim. In 2005, Pitchfork wrote that it had "challenged and confounded" Radiohead's audience, and subsequently "transformed into an intellectual symbol of sorts ... Owning it became 'getting it'; getting it became 'anointing it'."[137] In 2015, Rob Sheffield of Rolling Stone likened Radiohead's change in style to Bob Dylan's controversial move to rock music, writing that critics now hesitated to say they had disliked it at the time.[123] He described Kid A as the "defining moment in the Radiohead legend".[123] A year later, Billboard argued that Kid A was the first album since Bowie's Low to have moved "rock and electronic music forward in such a mature fashion".[138] In an article for Kid A's 20th anniversary, the Quietus suggested that the negative reviews had been motivated by rockism, the tendency among music critics to venerate rock music over other genres.[139]

In a 2011 Guardian article about his critical Melody Maker review, Beaumont wrote that though his opinion had not changed, "Kid A's status as a cultural cornerstone has proved me, if not wrong, then very much in the minority ... People whose opinions I trust claim it to be their favourite album ever."[140] In 2014, Brice Ezell of PopMatters wrote that Kid A is "more fun to think and write about than it is to actually listen to" and a "far less compelling representation of the band's talents than The Bends and OK Computer".[141] In 2016, Dorian Lysnkey wrote in The Guardian: "At times, Kid A is dull enough to make you fervently wish that they'd merged the highlights with the best bits of the similarly spotty Amnesiac ... Yorke had given up on coherent lyrics so one can only guess at what he was worrying about."[142]

Radiohead denied that they had set out to create "difficult" music. Jonny Greenwood argued that the tracks were short and melodic, and suggested that "people basically want their hands held through 12 'Mull Of Kintyre's".[3] Yorke said: "We're actually trying to communicate but, somewhere along the line, we just seemed to piss off a lot of people ... What we're doing isn't that radical."[11] He recalled that the band had been "white as a sheet" before early performances on the Kid A tour, thinking they had been "absolutely trashed". At the same time, the reaction motivated them: "There was a sense of a fight to convince people, which was actually really exciting."[143] He regretted having released no singles, feeling it meant much of the early judgement of the album came from critics.[81]

Grantland credited Kid A for pioneering the use of internet to stream and promote music, writing: "For many music fans of a certain age and persuasion, Kid A was the first album experienced primarily via the internet – it's where you went to hear it, read the reviews, and argue about whether it was a masterpiece ... Listen early, form an opinion quickly, state it publicly, and move on to the next big record by the official release date. In that way, Kid A invented modern music culture as we know it."[85] In his 2005 book Killing Yourself to Live, critic Chuck Klosterman interpreted Kid A as a prediction of the September 11 attacks.[140]

Speaking at Radiohead's induction to the Rock and Roll Hall of Fame 2019, David Byrne of Talking Heads, one of Radiohead's formative influences, said: "What was really weird and very encouraging was that [Kid A] was popular. It was a hit! It proved to me that the artistic risk paid off and music fans sometimes are not stupid."[144] In 2020, Billboard wrote that the success of Kid A, despite its "challenging" content, established Radiohead as "heavy hitters in the business for the long run".[92]

Accolades

In 2020, Rolling Stone ranked Kid A number 20 on its updated "500 Greatest Albums of All Time" list, describing it as "a new, uniquely fearless kind of rock record for a new, increasingly fearful century ... [It] remains one of the more stunning sonic makeovers in music history."[145] In previous versions of the list, Kid A ranked at number 67 (2012)[146] and number 428 (2003).[147] In 2005, Stylus[148] and Pitchfork named Kid A the best album of the previous five years, with Pitchfork calling it "the perfect record for its time: ominous, surreal, and impossibly millennial".[137]

In 2006, Time named Kid A one of the 100 best albums, calling it "the opposite of easy listening, and the weirdest album to ever sell a million copies, but ... also a testament to just how complicated pop music can be".[149] At the end of the decade, Rolling Stone,[150][better source needed] Pitchfork[151] and the Times[152] ranked Kid A the greatest album of the 2000s. The Guardian ranked it second best, calling it "a jittery premonition of the troubled, disconnected, overloaded decade to come. The sound of today, in other words, a decade early."[153] In 2021, Pitchfork readers voted Kid A the greatest album of the previous 25 years.[154] In 2011, Rolling Stone named "Everything in Its Right Place" the 24th-best song of the 2000s, describing it as "oddness at its most hummable".[155] "Idioteque" was named one of the best songs of the decade by Pitchfork[156] and Rolling Stone,[157] and Rolling Stone ranked it #33 on its 2018 list of the "greatest songs of the century so far".[158]

Accolades for Kid A
Publication Country Accolade Year Rank
Consequence of Sound US Top 100 Albums Ever[159] 2010 73
Fact UK The 100 Best Albums of the 2000s[160] 2010 7
The Guardian UK Albums of the decade[153] 2009 2
The 100 Best Albums of the 21st Century[161] 2019 16
Hot Press Ireland The 100 Best Albums Ever[162] 2006 47
Mojo UK The 100 Greatest Albums of Our Lifetime 1993–2006[163] 2006 7
NME UK The 100 Greatest British Albums Ever[164] 2006 65
The Top 100 Greatest Albums of the Decade[165] 2009 14
Paste US The 50 Best Albums Of The Decade[166] 2010 4
Pitchfork US Top 200 Albums of the 2000s[167] 2009 1
Platendraaier The Netherlands Top 30 Albums of the 2000s[168] 2015 7
PopMatters UK/US The 100 Best Albums of the 2000s[169] 2014 1
Porcys Poland The Best Albums of 2000-2009[170] 2010 2
Rolling Stone US The 500 Greatest Albums of All Time[171] 2020 20
The 100 Best Albums of the Decade[150] 2009 1
The 40 Greatest Stoner Albums[172] 2013 6
Spin US Top 100 Albums of the Last 20 Years[173] 2005 48
Stylus US The 50 Best Albums of 2000–2004[174] 2005 1
Time US The All-Time 100 Albums[175] 2006 *
The Times UK The 100 Best Pop Albums of the Noughties[152] 2009 1
1001 Albums You Must Hear Before You Die US 1001 Albums You Must Hear Before You Die[176] 2010 *
Musikexpress Germany The 50 Best Albums of the New Millennium[177] 2015 3
La Vanguardia Spain The Best Albums of the Decade[178] 2010 1
The A.V. Club US The Best Music of the Decade[179] 2009 3

(*) designates unordered list

Reissues

Radiohead left EMI after their contract ended in 2003.[180] After a period of being out of print on vinyl, Kid A was reissued as a double LP on 19 August 2008 as part of the "From the Capitol Vaults" series, along with other Radiohead albums.[181] In 2007, EMI released Radiohead Box Set, a compilation of albums recorded while Radiohead were signed to EMI, including Kid A.[182] On 25 August 2009, EMI reissued Kid A in a two-CD "Collector's Edition" and a "Special Collector's Edition" containing an additional DVD. Both versions feature live tracks, taken mostly from television performances. Radiohead had no input into the reissues and the music was not remastered.[183]

The EMI reissues were discontinued after Radiohead's back catalogue transferred to XL Recordings in 2016.[184] In May 2016, XL reissued Kid A on vinyl, along with the rest of Radiohead's back catalogue.[185] An early demo of "The National Anthem" was included in the special edition of the 2017 OK Computer reissue OKNOTOK 1997 2017.[186] In February 2020, Radiohead released an extended version of "Treefingers", previously released on the soundtrack for the 2000 film Memento, to digital platforms.[187]

On November 5, 2021, Radiohead released Kid A Mnesia, an anniversary reissue compiling Kid A and Amnesiac. It includes a third album, Kid Amnesiae, comprising previously unreleased material from the sessions.[188] Radiohead promoted the reissue with singles for the previously unreleased tracks "If You Say the Word" and "Follow Me Around".[189] Kid A Mnesia Exhibition, an interactive experience with music and artwork from the albums, was released on November 18 for PlayStation 5, macOS and Windows.[190]

Track listing

All songs written by Radiohead, except "Idioteque", which samples "Mild und Leise" by Paul Lansky and "Short Piece" by Arthur Kreiger.

  1. "Everything in Its Right Place" – 4:11
  2. "Kid A" – 4:44
  3. "The National Anthem" – 5:51
  4. "How to Disappear Completely" – 5:56
  5. "Treefingers" – 3:42
  6. "Optimistic" – 5:15
  7. "In Limbo" – 3:31
  8. "Idioteque" – 5:09
  9. "Morning Bell" – 4:35
  10. "Motion Picture Soundtrack" – 7:01
    • Untitled hidden track – 0:52

Note: Track 10 ends at 3:20; includes an untitled hidden track from 4:17 until 5:09, followed by 1:51 of silence. On streaming services, the hidden track is listed as a separate track.

Personnel

Credits adapted from liner notes.

Charts

Certifications and sales

Sales certifications for Kid A
Region Certification Certified units/sales
Australia (ARIA)[219] Platinum 70,000^
Canada (Music Canada)[220] 2× Platinum 200,000 
Chile — 25,000[221]
France (SNEP)[222] Platinum 200,000*
Italy (FIMI)[223]
sales since 2009 		Gold 25,000 
Japan (RIAJ)[224] Platinum 200,000^
New Zealand (RMNZ)[225] Gold 7,500^
Norway (IFPI Norway)[226] Gold 25,000*
United Kingdom (BPI)[228] Platinum 479,000[227]
United States (RIAA)[230] Platinum 1,480,000[229]
Summaries
Europe (IFPI)[231] Platinum 1,000,000*

* Sales figures based on certification alone.
^ Shipments figures based on certification alone.
  Sales+streaming figures based on certification alone.

Notes

  1. ^ The bear head logo is known as "Modified Bear",[77][78] "Despot Bear",[79] "Hunting Bear"[79] and "Blinky Bear".[79][80]

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Bibliography

  • Randall, Mac (2012). Exit Music: The Radiohead Story Updated Edition. ISBN 9781617130472.

Further reading

  • Lin, Marvin (25 November 2010). Radiohead's Kid A. 33⅓ series. New York: Continuum International Publishing Group. ISBN 978-0-8264-2343-6.
  • Ed's Diary: Ed O'Brien's studio diary from Kid A/Amnesiac recording sessions, 1999–2000 (archived at Green Plastic)
  • Marzorati, Gerald. "The Post-Rock Band". The New York Times. 1 October 2000. Retrieved on 4 November 2010.
  • "All Things Reconsidered: The 10th Anniversary of Radiohead's 'Kid A'" (a collection of articles). PopMatters. November 2010. Retrieved on 4 November 2010.

External links

  • Kid A at Discogs (list of releases)

May 05, 2023
fourth, studio, album, english, rock, band, radiohead, released, october, 2000, parlophone, recorded, with, their, producer, nigel, godrich, paris, copenhagen, gloucestershire, oxfordshire, studio, album, radioheadreleased2, october, 2000, 2000, recorded4, jan. Kid A is the fourth studio album by the English rock band Radiohead released on 2 October 2000 by Parlophone It was recorded with their producer Nigel Godrich in Paris Copenhagen Gloucestershire and Oxfordshire Kid AStudio album by RadioheadReleased2 October 2000 2000 10 02 Recorded4 January 1999 18 April 2000 1 StudioGuillaume Tell Paris Medley Copenhagen Radiohead studio OxfordshireGenreElectronica post rock art rock ambient experimental rockLength49 56LabelParlophone CapitolProducerNigel Godrich RadioheadRadiohead chronologyAirbag How Am I Driving 1998 Kid A 2000 Amnesiac 2001 After the stress of promoting Radiohead s 1997 album OK Computer the songwriter Thom Yorke wanted to depart from rock music Drawing influence from electronic music ambient music krautrock jazz and 20th century classical music Radiohead used instruments such as modular synthesisers the ondes Martenot brass and strings They processed guitar sounds incorporated samples and loops and manipulated their recordings with software Yorke wrote impersonal and abstract lyrics cutting up phrases and assembling them at random In a departure from industry practice Radiohead released no singles or music videos and conducted few interviews and photoshoots Instead they released short animated blips and became one of the first major acts to use the internet for promotion Bootlegs of early performances were shared on filesharing services and Kid A was leaked before release In 2000 Radiohead toured Europe in a custom built tent without corporate logos Kid A debuted at the top of the UK Albums Chart and became Radiohead s first number one album on the Billboard 200 in the US where it sold more than 207 000 copies in its first week Its departure from Radiohead s earlier sound divided listeners and some dismissed it as pretentious deliberately obscure or derivative However it later attracted acclaim at the end of the decade Rolling Stone Pitchfork and the Times ranked Kid A the greatest album of the 2000s and in 2020 Rolling Stone ranked it number 20 on its updated list of the 500 Greatest Albums of All Time Like OK Computer it won the Grammy Award for Best Alternative Album and was nominated for the Grammy Award for Album of the Year It has been certified platinum in Australia Canada France Japan the US and the UK A second album of material from the sessions Amnesiac was released eight months later Kid A Mnesia an anniversary reissue compiling Kid A Amnesiac and previously unreleased material was released in 2021 Contents 1 Background 2 Recording 2 1 Tracks 3 Music 3 1 Style and influences 3 2 Lyrics 4 Artwork 5 Promotion 5 1 Internet 5 2 Tour 6 Sales 7 Critical reception 8 Legacy 8 1 Accolades 8 2 Reissues 9 Track listing 10 Personnel 11 Charts 11 1 Weekly charts 11 2 Year end charts 12 Certifications and sales 13 Notes 14 References 14 1 Bibliography 15 Further reading 16 External linksBackground EditFollowing the critical and commercial success of their 1997 album OK Computer the members of Radiohead suffered burnout 2 The songwriter Thom Yorke became ill describing himself as a complete fucking mess completely unhinged 2 He was troubled by new acts he felt were imitating Radiohead 3 and became hostile to the music media 2 4 He told The Observer I always used to use music as a way of moving on and dealing with things and I sort of felt like that the thing that helped me deal with things had been sold to the highest bidder and I was simply doing its bidding And I couldn t handle that 5 Yorke suffered from writer s block and could not finish writing songs on guitar 6 He became disillusioned with the mythology of rock music feeling the genre had run its course 5 He began to listen almost exclusively to the electronic music of artists signed to the record label Warp such as Aphex Twin and Autechre Yorke said It was refreshing because the music was all structures and had no human voices in it But I felt just as emotional about it as I d ever felt about guitar music 2 He liked the idea of his voice being used as an instrument rather than having a leading role and wanted to focus on sounds and textures instead of traditional songwriting 3 Yorke bought a house in Cornwall and spent his time walking the cliffs and drawing restricting his musical activity to playing the grand piano he had recently bought 7 Everything in Its Right Place was the first song he wrote 7 He described himself as a shit piano player with little knowledge of electronic instruments I remember this Tom Waits quote from years ago that what keeps him going as a songwriter is his complete ignorance of the instruments he s using So everything s a novelty That s one of the reasons I wanted to get into computers and synths because I didn t understand how the fuck they worked I had no idea what ADSR meant 8 The guitarist Ed O Brien had hoped Radiohead s fourth album would comprise short melodic guitar songs but Yorke said There was no chance of the album sounding like that I d completely had it with melody I just wanted rhythm All melodies to me were pure embarrassment 6 The bassist Colin Greenwood said We felt we had to change everything There were other guitar bands out there trying to do similar things We had to move on 9 Recording EditSee also Amnesiac recording Greenwood performing on an ondes Martenot in 2010Radiohead were building their own studio in Oxfordshire which Yorke wanted to use as the German band Can had used their studio in Cologne recording everything they played and then editing it down 6 However the studio would not be complete until late 1999 so the band began work in Guillaime Tell Studios Paris in January 1999 6 10 Radiohead worked with the OK Computer producer Nigel Godrich and no deadline Yorke who had the greatest control was still facing writer s block 6 His new songs were incomplete and some consisted of little more than sounds or rhythms few had clear verses or choruses 6 Yorke s lack of lyrics created problems as these had provided points of reference and inspiration for his bandmates in the past 11 The group struggled with Yorke s new direction According to Godrich Yorke did not communicate much 12 and according to Yorke Godrich didn t understand why if we had such a strength in one thing we would want to do something else 13 The lead guitarist Jonny Greenwood feared awful art rock nonsense just for its own sake 6 His brother Colin did not enjoy Yorke s Warp influences finding them really cold 11 The other band members were unsure of how to contribute and considered leaving 11 O Brien said It s scary everyone feels insecure I m a guitarist and suddenly it s like well there are no guitars on this track or no drums 6 Radiohead experimented with electronic instruments including modular synthesisers and the ondes Martenot an early electronic instrument similar to a theremin and used software such as Pro Tools and Cubase to edit and manipulate their recordings 6 They found it difficult to use electronic instruments collaboratively according to Yorke We had to develop ways of going off into corners and build things on whatever sequencer synthesiser or piece of machinery we would bring to the equation and then integrate that into the way we would normally work 14 O Brien began using sustain units which allow guitar notes to be sustained infinitely combined with looping and delay effects to create synthesiser like sounds 15 In March Radiohead moved to Medley Studios in Copenhagen for two weeks 6 which were unproductive 12 The sessions produced about 50 reels of tape each containing 15 minutes of music with nothing finished 6 In April Radiohead resumed recording in a mansion in Batsford Park Gloucestershire 6 The lack of deadline and the number of incomplete ideas made it hard to focus 6 and the group held tense meetings 12 They agreed to disband if they could not agree on an album worth releasing 6 In July O Brien began keeping an online diary of Radiohead s progress 16 Radiohead moved to their new studio in Oxfordshire in September 6 In November Radiohead held a live webcast from their studio featuring a performance of new music and a DJ set 17 By 2000 six songs were complete 6 In January at Godrich s suggestion Radiohead split into two groups one would generate a sound or sequence without acoustic instruments such as guitars or drums and the other would develop it Though the experiment produced no finished songs it helped convince O Brien of the potential of electronic instruments 6 On 19 April 2000 Yorke wrote on Radiohead s website that they had finished recording 18 Having completed over 20 songs 19 Radiohead considered releasing a double album but felt the material was too dense 20 Instead they saved half the songs for their next album Amnesiac released the following year Yorke said Radiohead split the work into two albums because they cancel each other out as overall finished things They come from two different places 21 He observed that deciding the track list was not just a matter of choosing the best songs as you can put all the best songs in the world on a record and they ll ruin each other 22 He cited the later Beatles albums as examples of effective sequencing How in the hell can you have three different versions of Revolution on the same record and get away with it I thought about that sort of thing 22 Agreeing on the track list created arguments and O Brien said the band came close to breaking up That felt like it could go either way it could break But we came in the next day and it was resolved 23 The album was mastered by Chris Blair in Abbey Road Studios London 24 Tracks Edit Radiohead recorded the strings for How to Disappear Completely in Dorchester Abbey Oxfordshire Radiohead worked on the first track Everything in Its Right Place in a conventional band arrangement in Copenhagen and Paris but without results 25 In Gloucestershire 25 Yorke and Godrich transferred the song to a Prophet 5 synthesiser 26 and Yorke s vocals were processed in Pro Tools using a scrubbing tool 27 O Brien and the drummer Philip Selway said the track helped them accept that not every song needed every band member to play on it O Brien recalled To be genuinely sort of delighted that you d been working for six months on this record and something great has come out of it and you haven t contributed to it is a really liberating feeling 25 Jonny Greenwood described it as a turning point for the album We knew it had to be the first song and everything just followed after it 28 Yorke wrote an early version of The National Anthem when the band was still in school 29 In 1997 Radiohead recorded drums and bass for the song intending to develop it as a B side for OK Computer but decided to keep it for their next album 30 For Kid A Greenwood added ondes Martenot and sounds sampled from radio stations 29 and Yorke s vocals were processed with a ring modulator 31 In November 1999 31 Radiohead recorded a brass section inspired by the organised chaos of Town Hall Concert by the jazz musician Charles Mingus instructing the musicians to sound like a traffic jam 32 The strings on How to Disappear Completely were performed by the Orchestra of St John s and recorded in Dorchester Abbey a 12th century church about five miles from Radiohead s Oxfordshire studio 33 34 Radiohead chose the orchestra as they had performed pieces by Penderecki and Messiaen 32 Jonny Greenwood the only Radiohead member trained in music theory composed the string arrangement by multitracking his ondes Martenot 29 According to Godrich when the orchestra members saw Greenwood s score they all just sort of burst into giggles because they couldn t do what he d written because it was impossible or impossible for them anyway 35 The orchestra leader John Lubbock encouraged them to experiment and work with Greenwood s ideas 36 The concerts director Alison Atkinson said the session was more experimental than the orchestra s usual bookings 33 source source Radiohead sampled this portion of Mild und Leise a 1973 computer music composition by Paul Lansky for Idioteque Idioteque samples two computer music pieces Paul Lansky s Mild und Leise and Arthur Kreiger s Short Piece Both samples were taken from Electronic Music Winners a 1976 experimental music LP which Jonny Greenwood stumbled upon while the band was working on Kid A 3 The track was built from a drum machine pattern Greenwood created with a modular synthesiser and a sample from Mild und Leise 29 37 He gave the 50 minute recording to Yorke who took a short section of it and used it to write the song 37 Yorke also referred to electronic dance music when talking about Idioteque and said that the song was an attempt to capture that exploding beat sound where you re at the club and the PA s so loud you know it s doing damage 3 Motion Picture Soundtrack was written before Radiohead s debut single Creep 1992 38 and Radiohead recorded a version on piano during the OK Computer sessions 39 For Kid A Yorke recorded it on a pedal organ influenced by the songwriter Tom Waits The band added harp samples and double bass attempting to emulate the soundtracks of 1950s Disney films 29 40 Radiohead also worked on several songs they did not complete until the recording sessions for future albums including Nude 41 Burn the Witch 42 and True Love Waits 43 Music EditStyle and influences Edit Kid A source source The title track a heavily processed electronic piece demonstrates both Radiohead s increasing ambient electronic influences and the distortion of Yorke s voice extensively done on the album The National Anthem source source This song featuring a horn section improvising over a repetitive bassline demonstrates the band s increasing influence from jazz during this time period Yorke cited Charles Mingus as his main inspiration here Problems playing these files See media help Kid A incorporates influences from electronic artists on Warp Records 6 such as 1990s IDM artists Autechre and Aphex Twin 2 1970s Krautrock bands such as Can 6 the jazz of Charles Mingus 32 Alice Coltrane and Miles Davis 3 and abstract hip hop from the Mo Wax label including Blackalicious and DJ Krush 44 Yorke cited Remain in Light 1980 by Talking Heads as a massive reference point 45 Bjork was another major influence 46 31 particularly her 1997 album Homogenic 47 as was the Beta Band 48 Radiohead attended an Underworld concert which helped renew their enthusiasm in a difficult moment 49 The string orchestration for How to Disappear Completely was influenced by Polish composer Krzysztof Penderecki 2 Jonny Greenwood s use of the ondes Martenot on this and several other Kid A songs was inspired by Olivier Messiaen who popularised the instrument and was one of Greenwood s teenage heroes 50 Greenwood described his interest in mixing old and new music technology 50 and during the recording sessions Yorke read Ian MacDonald s Revolution in the Head which chronicles the Beatles recordings with George Martin during the 1960s 3 The band also sought to combine electronic manipulations with jam sessions in the studio stating their model was the German group Can 6 Kid A has been described as a work of electronica 51 52 53 experimental rock 54 post rock 55 56 alternative rock 57 post prog 58 ambient 59 electronic rock 60 art rock 61 and art pop 62 Though guitar is less prominent than on previous Radiohead albums guitars were still used on most tracks 3 Treefingers an ambient instrumental was created by digitally processing O Brien s guitar loops 40 Many of Yorke s vocals were manipulated with effects for example his vocals on the title track were simply spoken then vocoded with the ondes Martenot to create the melody 3 Lyrics Edit Yorke s lyrics on Kid A are less personal than on earlier albums and instead incorporate abstract and surreal themes 63 He cut up phrases and assembled them at random combining cliches and banal observations for example Morning Bell features repeated contrasting lines such as Where d you park the car and Cut the kids in half 64 Yorke denied that he was trying to get anything across with the lyrics and described them as like shattered bits of mirror like pieces of something broken it s not like I m trying to get anything across 22 Yorke cited David Byrne s approach to lyrics on Remain in Light as an influence When they made that record they had no real songs just wrote it all as they went along Byrne turned up with pages and pages and just picked stuff up and threw bits in all the time And that s exactly how I approached Kid A 3 Radiohead used Yorke s lyrics like pieces in a collage creating an artwork out of a lot of different little things 6 The lyrics are not included in the liner notes as Radiohead felt they could not be considered independently of the music 65 and Yorke did not want listeners to focus on them 3 Yorke wrote Everything in Its Right Place about the depression he experienced on the OK Computer tour feeling he could not speak 66 The refrain of How to Disappear Completely was inspired by R E M singer Michael Stipe who advised Yorke to relieve tour stress by repeating to himself I m not here this isn t happening 67 The refrain of Optimistic try the best you can the best you can is good enough was an assurance by Yorke s partner Rachel Owen when Yorke was frustrated with the band s progress 6 The title Kid A came from a filename on one of Yorke s sequencers 68 Yorke said he liked its non meaning saying If you call an album something specific it drives the record in a certain way 5 Artwork EditThe Kid A artwork and packaging was created by Yorke with Stanley Donwood who has worked with Radiohead since their 1994 EP My Iron Lung 69 Donwood painted on large canvases with knives and sticks then photographed the paintings and manipulated them with Photoshop 70 While working on the artwork Yorke and Donwood became obsessed with the Worldwatch Institute website which was full of scary statistics about ice caps melting and weather patterns changing this inspired them to use an image of a mountain range as the cover art 71 Donwood said he saw the mountains as some sort of cataclysmic power 72 Donwood was inspired by a photograph taken during the Kosovo War depicting a square metre of snow full of the detritus of war such as military equipment and cigarette stains He said I was upset by it in a way war had never upset me before It felt like it was happening in my street 70 The red swimming pool on the album spine and disc was inspired by the 1988 graphic novel Brought to Light by Alan Moore and Bill Sienkiewicz in which the number of people killed by state terrorism is measured in swimming pools filled with blood Donwood said this image haunted him during the recording of the album calling it a symbol of looming danger and shattered expectations 73 Yorke and Donwood cited a Paris exhibition of paintings by David Hockney as another influence 74 Yorke and Donwood made many versions of the album cover with different pictures and different titles in different typefaces Unable to pick one they taped them to cupboards of the studio kitchen and went to bed According to Donwood the choice the next day was obvious 75 In October 2021 Yorke and Donwood curated an exhibition of Kid A artwork at Christie s headquarters in London 76 Promotion Edit Kid A s promotional campaign introduced the Modified Bear logo used for later Radiohead marketing and merchandise 77 a Radiohead minimised their involvement in promotion for Kid A 81 conducting few interviews or photoshoots 82 Though Optimistic and promotional copies of other tracks received radio play Radiohead released no singles from the album Yorke said this was to avoid the stress of publicity which he had struggled with on OK Computer rather than for artistic reasons 81 No advance copies of Kid A were circulated 83 but it was played under controlled conditions for critics and fans 84 Radiohead were careful to present it as a cohesive work rather than a series of separate tracks Rather than give EMI executives their own copies they had them listen to the album in its entirety on a bus from Hollywood to Malibu 85 Rob Gordon the vice president of marketing at Capitol Records the American subsidiary of Radiohead s label EMI praised the album but said promoting it would be a business challenge 86 Promotional copies of Kid A came with stickers prohibiting broadcast before September 19 At midnight it was played in its entirety by the London radio station Xfm 87 MTV2 88 KROQ and WXRK also played the album in its entirety 2 Rather than agree to a standard magazine photoshoot for Q Radiohead supplied digitally altered portraits with their skin smoothed their irises recoloured and Yorke s drooping eyelid removed The Q editor Andrew Harrison described the images as aggressively weird to the point of taking the piss All five of Radiohead had been given the aspect of gawking aliens 89 Yorke said I d like to see them try to put these pictures on a poster 89 Q projected the images onto the Houses of Parliament placed them on posters and billboards in the London Underground and on the Old Street Roundabout and had them printed on key rings mugs and mouse mats to turn Radiohead back into a product 89 Instead of releasing traditional music videos for Kid A Radiohead commissioned dozens of 10 second videos featuring Donwood artwork they called blips which were aired on music channels and distributed online 90 Pitchfork described them as context free animated nightmares that radiated mystery with arch hints of surveillance 91 Five of the videos were serviced as exclusives to MTV and helped play into the arty mystique that endeared Radiohead to its core audience according to Billboard 92 Much of the promotional material featured pointy toothed bear characters created by Donwood The bears originated in stories Donwood made for his young children about teddy bears who came to life and ate the grown ups who had abandoned them 75 Internet Edit Everything in the industry at that point was like The internet isn t important It s not selling records everything for them had to translate to a sale I knew the internet was generating sales but I couldn t prove it because every record had MTV and radio with it After Kid A was a success nobody in the industry could believe it because there was no radio and there was no traditional music video I knew at that point this is the story of the internet The internet has done this Capitol executive Robin Sloan Bechtel 2015 85 Though Radiohead had experimented with internet promotion for OK Computer in 1997 by 2000 online music promotion was not widespread 93 with record labels still reliant on MTV and radio 85 Donwood wrote that EMI was not interested in the Radiohead website and left him and the band to update it with discursive and random content 75 To promote Kid A Capitol created the iBlip a Java applet that could be embedded in fan sites It allowed users to stream the album and included artwork photos and links to order Kid A on Amazon 86 85 It was used by more than 1000 sites and the album was streamed more than 400 000 times 85 Capitol also streamed Kid A through Amazon MTV com and heavy com and ran a campaign with the peer to peer filesharing service Aimster allowing users to swap iBlips and Radiohead branded Aimster skins 86 Three weeks before release Kid A was leaked online and shared on the peer to peer service Napster Asked whether he believed Napster had damaged sales Capitol president Ray Lott likened the situation to unfounded concern about home taping in the 1980s and said I m trying to sell as many Radiohead albums as possible If I worried about what Napster would do I wouldn t sell as many albums 86 Yorke said Napster encourages enthusiasm for music in a way that the music industry has long forgotten to do 94 Tour Edit Radiohead rearranged the Kid A songs to perform them live O Brien said You couldn t do Kid A live and be true to the record You would have to do it like an art installation When we played live we put the human element back into it 95 Selway said they found some new life in the songs when they came to perform them 95 In mid 2000 months before Kid A was released Radiohead toured the Mediterranean performing Kid A and Amnesiac songs for the first time 96 Fans shared concert bootlegs online Colin Greenwood said We played in Barcelona and the next day the entire performance was up on Napster Three weeks later when we got to play in Israel the audience knew the words to all the new songs and it was wonderful 97 Later that year Radiohead toured Europe in a custom built tent without corporate logos playing mostly new songs 98 The tour included a homecoming show in South Park Oxford with supporting performances by Humphrey Lyttelton who performed on Amnesiac Beck and Sigur Ros 99 According to the journalist Alex Ross the show may have been the largest public gathering in Oxford history 100 Radiohead also performed three concerts in North American theatres their first in nearly three years The small venues sold out rapidly attracting celebrities and fans camped overnight 4 In October Radiohead performed on the American TV show Saturday Night Live the performance shocked viewers expecting rock songs with Jonny Greenwood playing electronic instruments the house brass band improvising over The National Anthem and Yorke dancing erratically to Idioteque 101 Rolling Stone described the Kid A tour as a revelation exposing rock and roll humanity in the songs 95 In November 2001 Radiohead released I Might Be Wrong Live Recordings comprising performances from the Kid A and Amnesiac tours 101 Sales EditKid A reached number one on Amazon s sales chart with more than 10 000 pre orders 86 It debuted at number one on the UK Albums Chart 82 selling 55 000 copies in its first day the biggest first day sales of the year and more than every other album in the top ten combined 82 Kid A also debuted at number one on the US Billboard 200 102 selling more than 207 000 copies in its first week 103 It was Radiohead s first US top 20 album and the first US number one in three years for any British act 86 104 Kid A also debuted at number one in Canada where it sold more than 44 000 copies in its first week 103 and in France Ireland and New Zealand European sales slowed on 2 October 2000 the day of release when EMI recalled 150 000 faulty CDs 82 By June 2001 Kid A had sold 310 000 copies in the UK less than a third of OK Computer sales 105 It is certified platinum in the UK Australia Canada France Japan and the US Critical reception EditProfessional ratingsContemporary reviewsAggregate scoresSourceRatingMetacritic80 100 106 Review scoresSourceRatingChicago Sun Times 107 The Encyclopedia of Popular Music 108 Entertainment WeeklyB 109 The Guardian 110 Melody Maker 111 NME7 10 112 Pitchfork10 10 113 Q 114 Rolling Stone 62 Spin9 10 115 The Village VoiceA 116 Kid A was widely anticipated 117 33 Spin described it as the most anticipated rock record since Nirvana s In Utero 118 According to Andrew Harrison the editor of Q journalists expected it to provide more of the rousing cathartic lots of guitar Saturday night at Glastonbury big future rock moments of OK Computer 89 Months before its release Pat Blashill of Melody Maker wrote If there s one band that promises to return rock to us it s Radiohead 33 After Kid A had been played for critics many bemoaned the lack of guitar obscured vocals and unconventional song structures 2 and some called the album a commercial suicide note 5 The Guardian wrote of the muted electronic hums pulses and tones predicting that it would confuse listeners 2 In Mojo Jim Irvin wrote that upon first listen Kid A is just awful Too often it sounds like the fragments that they began the writing process with a loop a riff a mumbled line of text have been set in concrete and had other lesser ideas piled on top 119 The Guardian critic Adam Sweeting wrote that even listeners raised on krautrock or Ornette Coleman will find Kid A a mystifying experience and that it pandered to the worst cliches about Radiohead s relentless miserabilism 110 Several critics felt Kid A was pretentious or deliberately obscure The Irish Times bemoaned the lack of conventional song structures and panned the album as deliberately abstruse wilfully esoteric and wantonly unfathomable The only thing challenging about Kid A is the very real challenge to your attention span 117 In the New Yorker the novelist Nick Hornby wrote that it was morbid proof that this sort of self indulgence results in a weird kind of anonymity rather than something distinctive and original 120 The Melody Maker critic Mark Beaumont called it tubby ostentatious self congratulatory look ma I can suck my own cock whiny old rubbish About 60 songs were started that no one had a bloody clue how to finish 111 Alexis Petridis of The Guardian described it as self consciously awkward and bloody minded the noise made by a band trying so hard to make a difficult album that they felt it beneath them to write any songs 105 Rolling Stone published a piece by Michael Krugman and Jason Cohen mocking Kid A as humourless derivative and lacking in songs They wrote Because it was decided that Radiohead were Important and Significant last time around no one can accept the album as the crackpot art project it so obviously is 121 Some critics felt Kid A was unoriginal In the New York Times Howard Hampton dismissed Radiohead as a rock composite and wrote that Kid A recycles Pink Floyd s dark side of the moon solipsism to Me Decade perfection 122 Beaumont said Radiohead were simply ploughing furrows dug by DJ Shadow and Brian Eno before them 111 The Irish Times felt the ambient elements were inferior to Eno s 1978 album Music For Airports and its scary elements inferior to Scott Walker s 1995 album Tilt 117 Select wrote What do they want for sounding like the Aphex Twin circa 1993 a medal 123 In a retrospective the journalist Rob Sheffield wrote that the mastery of Warp style electronic effects had appeared clumsy and dated at the time of Kid A s release 123 In an NME editorial James Oldham wrote that the electronic influences were mired in compromise with Radiohead still operating as a rock band and concluded Time will judge it But right now Kid A has the ring of a lengthy over analysed mistake 124 Rob Mitchell the co founder of Warp felt Kid A represented an honest interpretation of Warp influences and was not gratuitously electronic He predicted it might one day be seen in the same way as David Bowie s 1977 album Low which alienated some Bowie fans but was later acclaimed 125 AllMusic gave Kid A a favourable review but wrote that it never is as visionary or stunning as OK Computer nor does it really repay the intensive time it demands in order for it to sink in 101 The NME review was also positive but described some songs as meandering and anticlimactic and concluded For all its feats of brinkmanship the patently magnificent construct called Kid A betrays a band playing one handed just to prove they can scared to commit itself emotionally 4 In Rolling Stone David Fricke called Kid A a work of deliberately inky often irritating obsession But 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 62 Spin said Kid A was not the act of career suicide or feat of self indulgence it will be castigated as and predicted that fans would recognise it as Radiohead s best and bravest album 115 Billboard described it as an ocean of unparalleled musical depth and the first truly groundbreaking album of the 21st century 126 The music journalist Robert Christgau wrote that Kid A was an imaginative imitative variation on a pop staple sadness made pretty 116 The Village Voice called it oblique oblique oblique Also incredibly beautiful 127 Brent DiCrescenzo of Pitchfork gave Kid A a perfect score calling it cacophonous yet tranquil experimental yet familiar foreign yet womb like spacious yet visceral textured yet vaporous awakening yet dreamlike He concluded that Radiohead must be the greatest band alive if not the best since you know who 113 The piece was one of the first Kid A reviews posted online shared widely by Radiohead fans it helped popularise Pitchfork and became notorious for its obtuse writing 128 At Metacritic which aggregates ratings from critics Kid A has a score of 80 based on 24 reviews indicating generally favourable reviews 106 It was named one of the best albums of 2000 by publications including the Los Angeles Times Spin Melody Maker Mojo NME Pitchfork Q the Times Uncut and the Wire 129 At the 2001 Grammy Awards Kid A was nominated for Album of the Year and won for Best Alternative Album 130 131 Legacy EditProfessional ratingsRetrospective reviewsReview scoresSourceRatingAllMusic 51 The A V ClubA 132 Pitchfork10 10 133 Q 134 Record Collector 135 The Rolling Stone Album Guide 136 In the years following its release Kid A attracted acclaim In 2005 Pitchfork wrote that it had challenged and confounded Radiohead s audience and subsequently transformed into an intellectual symbol of sorts Owning it became getting it getting it became anointing it 137 In 2015 Rob Sheffield of Rolling Stone likened Radiohead s change in style to Bob Dylan s controversial move to rock music writing that critics now hesitated to say they had disliked it at the time 123 He described Kid A as the defining moment in the Radiohead legend 123 A year later Billboard argued that Kid A was the first album since Bowie s Low to have moved rock and electronic music forward in such a mature fashion 138 In an article for Kid A s 20th anniversary the Quietus suggested that the negative reviews had been motivated by rockism the tendency among music critics to venerate rock music over other genres 139 In a 2011 Guardian article about his critical Melody Maker review Beaumont wrote that though his opinion had not changed Kid A s status as a cultural cornerstone has proved me if not wrong then very much in the minority People whose opinions I trust claim it to be their favourite album ever 140 In 2014 Brice Ezell of PopMatters wrote that Kid A is more fun to think and write about than it is to actually listen to and a far less compelling representation of the band s talents than The Bends and OK Computer 141 In 2016 Dorian Lysnkey wrote in The Guardian At times Kid A is dull enough to make you fervently wish that they d merged the highlights with the best bits of the similarly spotty Amnesiac Yorke had given up on coherent lyrics so one can only guess at what he was worrying about 142 Radiohead denied that they had set out to create difficult music Jonny Greenwood argued that the tracks were short and melodic and suggested that people basically want their hands held through 12 Mull Of Kintyre s 3 Yorke said We re actually trying to communicate but somewhere along the line we just seemed to piss off a lot of people What we re doing isn t that radical 11 He recalled that the band had been white as a sheet before early performances on the Kid A tour thinking they had been absolutely trashed At the same time the reaction motivated them There was a sense of a fight to convince people which was actually really exciting 143 He regretted having released no singles feeling it meant much of the early judgement of the album came from critics 81 Grantland credited Kid A for pioneering the use of internet to stream and promote music writing For many music fans of a certain age and persuasion Kid A was the first album experienced primarily via the internet it s where you went to hear it read the reviews and argue about whether it was a masterpiece Listen early form an opinion quickly state it publicly and move on to the next big record by the official release date In that way Kid A invented modern music culture as we know it 85 In his 2005 book Killing Yourself to Live critic Chuck Klosterman interpreted Kid A as a prediction of the September 11 attacks 140 Speaking at Radiohead s induction to the Rock and Roll Hall of Fame 2019 David Byrne of Talking Heads one of Radiohead s formative influences said What was really weird and very encouraging was that Kid A was popular It was a hit It proved to me that the artistic risk paid off and music fans sometimes are not stupid 144 In 2020 Billboard wrote that the success of Kid A despite its challenging content established Radiohead as heavy hitters in the business for the long run 92 Accolades Edit In 2020 Rolling Stone ranked Kid A number 20 on its updated 500 Greatest Albums of All Time list describing it as a new uniquely fearless kind of rock record for a new increasingly fearful century It remains one of the more stunning sonic makeovers in music history 145 In previous versions of the list Kid A ranked at number 67 2012 146 and number 428 2003 147 In 2005 Stylus 148 and Pitchfork named Kid A the best album of the previous five years with Pitchfork calling it the perfect record for its time ominous surreal and impossibly millennial 137 In 2006 Time named Kid Aone of the 100 best albums calling it the opposite of easy listening and the weirdest album to ever sell a million copies but also a testament to just how complicated pop music can be 149 At the end of the decade Rolling Stone 150 better source needed Pitchfork 151 and the Times 152 ranked Kid A the greatest album of the 2000s The Guardian ranked it second best calling it a jittery premonition of the troubled disconnected overloaded decade to come The sound of today in other words a decade early 153 In 2021 Pitchfork readers voted Kid A the greatest album of the previous 25 years 154 In 2011 Rolling Stone named Everything in Its Right Place the 24th best song of the 2000s describing it as oddness at its most hummable 155 Idioteque was named one of the best songs of the decade by Pitchfork 156 and Rolling Stone 157 and Rolling Stone ranked it 33 on its 2018 list of the greatest songs of the century so far 158 Accolades for Kid A Publication Country Accolade Year RankConsequence of Sound US Top 100 Albums Ever 159 2010 73Fact UK The 100 Best Albums of the 2000s 160 2010 7The Guardian UK Albums of the decade 153 2009 2The 100 Best Albums of the 21st Century 161 2019 16Hot Press Ireland The 100 Best Albums Ever 162 2006 47Mojo UK The 100 Greatest Albums of Our Lifetime 1993 2006 163 2006 7NME UK The 100 Greatest British Albums Ever 164 2006 65The Top 100 Greatest Albums of the Decade 165 2009 14Paste US The 50 Best Albums Of The Decade 166 2010 4Pitchfork US Top 200 Albums of the 2000s 167 2009 1Platendraaier The Netherlands Top 30 Albums of the 2000s 168 2015 7PopMatters UK US The 100 Best Albums of the 2000s 169 2014 1Porcys Poland The Best Albums of 2000 2009 170 2010 2Rolling Stone US The 500 Greatest Albums of All Time 171 2020 20The 100 Best Albums of the Decade 150 2009 1The 40 Greatest Stoner Albums 172 2013 6Spin US Top 100 Albums of the Last 20 Years 173 2005 48Stylus US The 50 Best Albums of 2000 2004 174 2005 1Time US The All Time 100 Albums 175 2006 The Times UK The 100 Best Pop Albums of the Noughties 152 2009 11001 Albums You Must Hear Before You Die US 1001 Albums You Must Hear Before You Die 176 2010 Musikexpress Germany The 50 Best Albums of the New Millennium 177 2015 3La Vanguardia Spain The Best Albums of the Decade 178 2010 1The A V Club US The Best Music of the Decade 179 2009 3 designates unordered list Reissues Edit Radiohead left EMI after their contract ended in 2003 180 After a period of being out of print on vinyl Kid A was reissued as a double LP on 19 August 2008 as part of the From the Capitol Vaults series along with other Radiohead albums 181 In 2007 EMI released Radiohead Box Set a compilation of albums recorded while Radiohead were signed to EMI including Kid A 182 On 25 August 2009 EMI reissued Kid A in a two CD Collector s Edition and a Special Collector s Edition containing an additional DVD Both versions feature live tracks taken mostly from television performances Radiohead had no input into the reissues and the music was not remastered 183 The EMI reissues were discontinued after Radiohead s back catalogue transferred to XL Recordings in 2016 184 In May 2016 XL reissued Kid A on vinyl along with the rest of Radiohead s back catalogue 185 An early demo of The National Anthem was included in the special edition of the 2017 OK Computer reissue OKNOTOK 1997 2017 186 In February 2020 Radiohead released an extended version of Treefingers previously released on the soundtrack for the 2000 film Memento to digital platforms 187 On November 5 2021 Radiohead released Kid A Mnesia an anniversary reissue compiling Kid A and Amnesiac It includes a third album Kid Amnesiae comprising previously unreleased material from the sessions 188 Radiohead promoted the reissue with singles for the previously unreleased tracks If You Say the Word and Follow Me Around 189 Kid A Mnesia Exhibition an interactive experience with music and artwork from the albums was released on November 18 for PlayStation 5 macOS and Windows 190 Track listing EditAll songs written by Radiohead except Idioteque which samples Mild und Leise by Paul Lansky and Short Piece by Arthur Kreiger Everything in Its Right Place 4 11 Kid A 4 44 The National Anthem 5 51 How to Disappear Completely 5 56 Treefingers 3 42 Optimistic 5 15 In Limbo 3 31 Idioteque 5 09 Morning Bell 4 35 Motion Picture Soundtrack 7 01 Untitled hidden track 0 52Note Track 10 ends at 3 20 includes an untitled hidden track from 4 17 until 5 09 followed by 1 51 of silence On streaming services the hidden track is listed as a separate track Personnel EditCredits adapted from liner notes Production Nigel Godrich production engineering mixing Radiohead production Gerard Navarro production assistance additional engineering Graeme Stewart additional engineering Stanley artwork Landscapes Knives and Glue Tchock artwork Landscapes Knives and Glue Chris Blair mastering Additional musicians Orchestra of St John s strings John Lubbock conducting Jonny Greenwood scoring Horns on The National Anthem Andy Bush trumpet Steve Hamilton alto saxophone credited simply as alto Martin Hathaway alto saxophone etc Andy Hamilton tenor saxophone Mark Lockheart tenor saxophone Stan Harrison baritone saxophone Liam Kerkman trombone Mike Kearsey bass trombone Henry Binns rhythm sampling on The National Anthem Charts EditWeekly charts Edit Weekly chart performance for Kid A Chart 2000 Peak positionAustralian Albums ARIA 191 2Austrian Albums O3 Austria 192 5Belgian Albums Ultratop Flanders 193 3Belgian Albums Ultratop Wallonia 194 4Canadian Albums Billboard 195 1Danish Albums Hitlisten 196 2Dutch Albums Album Top 100 197 4Finnish Albums Suomen virallinen lista 198 2French Albums SNEP 199 1German Albums Offizielle Top 100 200 4Irish Albums IRMA 201 1Italian Albums FIMI 202 3New Zealand Albums RMNZ 203 1Norwegian Albums VG lista 204 2Scottish Albums OCC 205 1Spanish Albums AFYVE 206 22Swedish Albums Sverigetopplistan 207 3Swiss Albums Schweizer Hitparade 208 8UK Albums OCC 209 1US Billboard 200 210 1 Year end charts Edit 2000 year end chart performance for Kid A Chart 2000 PositionAustralian Albums ARIA 211 70Belgian Albums Ultratop Flanders 212 71Belgian Albums Ultratop Wallonia 213 82Canadian Albums Nielsen SoundScan 214 59Dutch Albums Album Top 100 215 84French Albums SNEP 216 64UK Albums OCC 217 50US Billboard 200 218 190Certifications and sales EditSales certifications for Kid A Region Certification Certified units salesAustralia ARIA 219 Platinum 70 000 Canada Music Canada 220 2 Platinum 200 000 Chile 25 000 221 France SNEP 222 Platinum 200 000 Italy FIMI 223 sales since 2009 Gold 25 000 Japan RIAJ 224 Platinum 200 000 New Zealand RMNZ 225 Gold 7 500 Norway IFPI Norway 226 Gold 25 000 United Kingdom BPI 228 Platinum 479 000 227 United States RIAA 230 Platinum 1 480 000 229 SummariesEurope IFPI 231 Platinum 1 000 000 Sales figures based on certification alone Shipments figures based on certification alone Sales streaming figures based on certification alone Notes Edit The bear head logo is known as Modified Bear 77 78 Despot Bear 79 Hunting Bear 79 and Blinky Bear 79 80 References Edit Radiohead News at Follow Me Around Follow Me Around 2001 Archived from the original on 10 February 2001 Retrieved 10 August 2022 a b c d e f g h i Zoric Lauren 22 September 2000 I think I m meant to be dead The Guardian Archived from the original on 2 January 2014 Retrieved 18 May 2007 a b c d e f g h i j k Reynolds Simon July 2001 Walking on Thin Ice The Wire Archived from the original on 4 February 2012 Retrieved 17 March 2007 a b c Radiohead Kid A NME 23 December 2000 Archived from the original on 4 March 2020 Retrieved 4 May 2020 a b c d Smith Andrew 1 October 2000 Sound and fury The Observer Archived from the original on 10 November 2013 Retrieved 19 May 2007 a b c d e 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album certifications レディオヘッド キッドA in Japanese Recording Industry Association of Japan Retrieved 5 October 2019 Select 2001年6月 on the drop down menu New Zealand album certifications Radiohead Kid A Recorded Music NZ Retrieved 4 June 2019 IFPI Norsk platebransje Trofeer 1993 2011 in Norwegian IFPI Norway Albums turning 20 years old in 2021 Official Charts Retrieved 2 January 2023 British album certifications Radiohead Kid A British Phonographic Industry DeSantis Nick Radiohead s Digital Album Sales Visualized Forbes Archived from the original on 22 February 2019 Retrieved 30 January 2018 American album certifications Radiohead Kid A Recording Industry Association of America Retrieved 17 June 2017 IFPI Platinum Europe Awards 2000 International Federation of the Phonographic Industry Retrieved 2 February 2020 Bibliography Edit Randall Mac 2012 Exit Music The Radiohead Story Updated Edition ISBN 9781617130472 Further reading EditLin Marvin 25 November 2010 Radiohead s Kid A 33 series New York Continuum International Publishing Group ISBN 978 0 8264 2343 6 Ed s Diary Ed O Brien s studio diary from Kid A Amnesiac recording sessions 1999 2000 archived at Green Plastic Marzorati Gerald The Post Rock Band The New York Times 1 October 2000 Retrieved on 4 November 2010 All Things Reconsidered The 10th Anniversary of Radiohead s Kid A a collection of articles PopMatters November 2010 Retrieved on 4 November 2010 External links EditKid A at Discogs list of releases Retrieved from https en wikipedia org w index php title Kid A amp oldid 1153059165, wikipedia, wiki, book, books, library,

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