Journal Entry/Album Review October 24, 2000 Last week I listened several times to "Kid A," Radio Head’s recent offering. Since there’s been so much fuss about it – both positive and negative – I thought I’d chime in with my personal reaction – not that it’s more valid than anybody else’s… but this is MY journal after all :). I found the music to be profoundly inventive and quite moving. Right from the start I was captivated by the rhythm. Having tapped my foot and counted to ten, I realized the time signature of "Everything’s In It’s Right Place" is 5/4…which feels to me like rolling gently head over heels inside a giant lop sided ball. Once you become accustomed to the groove, it can be a nice ride. Also immediately apparent are paradox and curious juxtaposition, musically and lyrically, which I appreciate as such convey life’s reality. "Yesterday I woke up soakin’…There are two colors in my head…What was that you tried to say?" It feels obvious that the song is based on true experience. Nobody’s trying to sell anybody anything. It’s entirely my option, and also yours – to eject the disc – or to listen closely. I was in the mood for something honest and, well…strange. So I sat between the speakers and turned the volume way up. Next, I enjoyed the shuffle swing of "Kid A." with it’s whimsical synthetic tones reminiscent of the early seventies pre-disco top 40 hit, "Popcorn." Haunting…trance inducing, no less. I always appreciate a dirty groove, and the over-compressed roomy drums on "National Anthem" are a nice contrast to the dry loops of other tracks. The keyboard textures are stunning. Ultimately, as the song is overtaken by improvisational horn madness I am reminded of the legendary saxophone great, John Coltrane. Sure, it’s a bit bothersome, no doubt deliberately so…but it is a fun ride. Dizzying. "How to Disappear" is lovely, rocking gently from a "D" chord to "A" in 6/8 time. The harmonic tension is brilliant – mostly subtle – until a B flat drones abrasively against an A! Then it becomes momentarily suitable as a soundtrack for "Axe Murderer Kills the Ice Cream Man" (or something like that). The string arrangement is beautiful. "I’m not here. This isn’t happening…" Glorious! "Treefingers" is poetry in a title. No lyric necessary. A majestic soundscape. "Optimistic" is the only song close to commercial on the album. Lush textures in contrast to a nasty guitar tone. Yes, and real drums again, thanks! The ascending melody line in the choruses is particularly inventive. A meandering electric piano with intense vibrato…helicopter guitar (left speaker)…a lot going on! And the words, "You can try the best you can…the best you can is good enough…I’d really like to help you man…" Completely inspiring and enjoyable! I don’t recall a more effective blend of music and words than the poly-rhythmic, "In Limbo." The guitar picks a pattern in 6/4 while the drums are in 4/4…and the vocal seems to wander oblivious to meter. "I’ve lost my way…" he sings, "You’re living in a fantasy…" The samples at the end are amazing and bizarre. Tap your foot and count to twenty and you’ll realize "Idioteque" is in five bar phrases. No bass guitar? Hmmm. No floor. Strange synthetic tones. Captivating drum loop. "Women and children first…this is really happening." The feeling is emotional insecurity and the terror of facing harsh reality. I think it’s the most moving vocal performance on the project. "Morning Bell" is in 5/8 time, which feels to me like rolling gently down a grassy hill in a lopsided barrel. The sweet familiar sound of a Wurlitzer electric piano is pacifying. The vocal melody is wonderful, and as I listen, I make up my mind yet again that this guy is the best singer in rock music. "You can keep the furniture…release me please…where’d you park the car?" Tragic! Finally all fades away and, ah – there’s the bass guitar – all by it’s honest self, save for the sustaining wurly. A pump organ reminiscent of a protestant revival camp meeting in the 30s serves to accompany "Motion Picture Soundtrack." Next enter harps left, and harps right…and the voices of mermaids under the sea. "I think you’re crazy, maybe." Then conclusively, after one minute of silence, a subtle 45-second keyboard pad. Reflective. I can’t say when I’ll listen to "Kid A" again. I’ll have to be in the mood. It’s not like "Starfish" by The Church…Neil Finn’s "Try Whistling This"…or "Achtung Baby" by U2. I’m always in the mood to hear those albums, because I love great songs. And, for that matter, Radiohead already offered us "The Bends" and "OK Computer," so I truly respect their innovative departure this time out. For my 15 bucks,"Kid A" is an astonishing work of art! Now…I anxiously await the new U2. Steve