Radiohead- “Amnesiac”

Recorded mostly during the same sessions for “Kid A”, Radiohead described these two albums, released in 2000 and 2001, as “twins separated at birth”. Considering that “Kid A” is on fairly good terms with bleakness, it shouldn’t be taken lightly that “Amnesiac” is the creepy, fucked up sibling of the two.

The album opens with the sinister “Packt Like Sardines in a Crushd Tin Box” which now sounds like classic Radiohead, combining light but glitchy computerised beats, weirdly timed keyboard sounds and gargling lyrics such as “I’m a reasonable man, get off my case”. The song threatens to break out into a swooping chorus or a thrilling climax, but the fact that it never quite makes it only adds to its intensity.

During “Pulk/Pull Revolving Doors”, some of Radiohead’s most fascinating qualities really hit full stride. Starting with an intermittent beat, the odd blast a shit scary discordant piano and the sound of far away wind chimes, the song goes on to flit between genuinely eery to the genuinely uplifting. With most other bands, this would probably be the sound of the lead singer’s head disappearing completely up in his own arse, but with Radiohead, it’s the sound of a band with full creative freedom.

“You And Whose Army?” is, possibly, the most conventional song on the album. It’s deceptively simple, for the most part just combining some simple, progressive chords and Thom Yorke’s soothingly falsetto voice, but when the bass leads into the final climax where the drums, piano and guitars flow together, it’s one of the most relaxing things in the world.

The next song, “I Might Be Wrong”, destroys any bliss we may have and restores us, nicely, to the feeling of uneasiness. “Knives Out” continues much in the same way. The elegant guitar of Johnny Greenwood creates a reflective backdrop for Thom Yorke’s bleak, sad wailing in what is a truly brilliant song.

“Morning Bell”, of which another version features on ”Kid A”, really highlights the difference of these two albums. Where the “Kid A” version is oddly uplifting and progresses into what is almost an anthem, the “Amnesiac” version creeps around like a serial killer picking his next victim. Although it has the same lyrics, it is a million times more desolate and nasty.

The album finishes with the bizarre “Life in a Glass House” which is almost the classic downbeat, piano led formula of Radiohead (as if Radiohead have a “formula”) only with numerous jazz instruments purring, pirouetting and shrieking to create an odd, but glorious, groovy funeral march.

Although it may be overshadowed by it’s “twin”, “Amnesiac” is a fantastic album. It’s a truly experimental and haunting record, even by the ridiculously high standards set by Radiohead themselves. What is always clear, whether you’re listening to it for the first time or the 200th, is that “Amnesiac” is a really fucked up, nasty piece of work. It’s dark and it’s scary, bleak and depressing. It’s a masterpiece.

You And Whose Army

I Might Be Wrong

Packt Like Sardines In A Crushd Tin Box