After months of waiting, and several tentative release dates, Amnesiac finally hit store shelves last Tuesday. Since last October, we've been hearing that this album, recorded during the same sessions as last year's wildly experimental Kid A, would serve as a return to the band's mid-90's roots. Now we come to find it was all a lie.
That said, Amnesiac is about as close to The Bends as Miss Cleo is to Jamaican. And within the first ten seconds of its opening track, "Packt like Sardines in a Crushd Tin Box," the band crushes that rumor like a bug in the ground. Sparse, clanging percussion evokes abandoned swingsets. Keyboards whir to sonorous life, humming resonantly. Guitars are curiously marked absent. Production-wise, the track could have nestled cozily alongside Kid A's strangest moments, yet its melody is stunningly more infectious than even that album's height of accessibility, "Optimistic." Amidst chattering synths and twisted metal, Thom Yorke casually insists that he's "a reasonable man," and politely intones the album's most quoted lyric: "Get off my case."
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If nothing else, Radiohead have always realized the emotional impact of a stunning album closer, and Amnesiac offers two. Sitting side by side, "Like Spinning Plates" and "Life in a Glasshouse" are so vastly superior to the album's other tracks that the album's few misteps are easily forgiven. "Spinning Plates," while a much better fit for Kid A, is nonetheless one of Radiohead's most affecting tracks to date. It opens with a digitally simulated "spinning" sound, disorienting reversed keyboard, and subtle keyboard pings. The song hits its peak when Yorke's indecipherable backwards vocals unexpectedly revert to traditional forward singing during the mournful climax, "And this just feels like/ Spinning plates/ My body's floating down a muddy river."
Amnesiac is the fifth studio album by the English rock band Radiohead, released on 30 May 2001 by EMI. It was recorded with the producer Nigel Godrich in the same sessions as Radiohead's previous album Kid A (2000). Radiohead split the work in two as they felt it was too dense for a double album. As with Kid A, Amnesiac incorporates influences from electronic music, 20th-century classical music, jazz and krautrock. The final track, "Life in a Glasshouse", is a collaboration with the jazz trumpeter Humphrey Lyttelton and his band.
Amnesiac debuted at number one on the UK Albums Chart and number two on the US Billboard 200. By October 2008, it had sold over 900,000 copies worldwide. It is certified platinum in the UK, the US and Canada, and gold in Japan. Though some critics felt it was too experimental or less cohesive than Kid A, or saw it as a collection of outtakes, it received positive reviews. It was named one of the year's best albums by numerous publications.
Radiohead and the producer Nigel Godrich recorded Amnesiac during the same sessions as their previous album, Kid A, released in October 2000.[2] The sessions took place from January 1999 to mid-2000 in Guillaume Studios in Paris, Medley Studios in Copenhagen, and Radiohead's studio in Oxfordshire.[3][4] The drummer, Philip Selway, said the sessions had "two frames of mind ... a tension between our old approach of all being in a room playing together and the other extreme of manufacturing music in the studio. I think Amnesiac comes out stronger in the band-arrangement way."[5]
Radiohead considered releasing the work as a double album, but felt it was too dense.[7] The singer, Thom Yorke, said Radiohead split it into two albums because "they cancel each other out as overall finished things" and came from "two different places". He felt Amnesiac offered a "different take" on Kid A and "a form of explanation".[8] The band members stressed that they saw Amnesiac not as a collection of Kid A B-sides or outtakes but an album in its own right.[9] Yorke said the title was inspired by a Gnostic belief that the trauma of birth erases memories of past lives, an idea he found fascinating.[5]
"Like Spinning Plates" was the result of Radiohead's attempt to record another song, "I Will", on synthesiser.[16] Dismissing their initial recording as "dodgy Kraftwerk", Radiohead reversed it and created a new song. Yorke said: "I was in another room, heard the vocal melody coming backwards, and thought, 'That's miles better than the right way round', then spent the rest of the night trying to learn the melody."[2] Yorke sang the lyrics backwards, which were in turn reversed, creating vocals with lyrics that sound reversed.[11] Radiohead recorded "I Will" in a new arrangement for their next album, Hail to the Thief (2003).[17]
For the final track, "Life in a Glasshouse", Jonny Greenwood wrote to the jazz trumpeter Humphrey Lyttelton, explaining that Radiohead were "a bit stuck".[18] Lyttelton agreed to perform on the song with his band after his daughter showed him Radiohead's 1997 album OK Computer.[18] According to Lyttelton, Radiohead "didn't want it to sound like a slick studio production but a slightly exploratory thing of people playing as if they didn't have it all planned out in advance".[18] The song was recorded over seven hours, and left Lyttelton exhausted. "I detected some sort of eye-rolling at the start of the session, as if to say we were miles apart," he said. "They went through quite a few nervous breakdowns during the course of it all, just through trying to explain to us all what they wanted."[18]
"I Might Be Wrong" combines a "venomous" guitar riff with a "trance-like metallic beat". Colin Greenwood's bassline was inspired by the Chic bassist Bernard Edwards.[25] The lyrics were influenced by advice given to Yorke by his partner, Rachel Owen: "Be proud of what you've done. Don't look back and just carry on like nothing's happened. Just let the bad stuff go."[25] "Knives Out", described as the album's most conventional song,[26] features "drifting" guitar lines, "driving" percussion, a "wandering" bassline, "haunting" vocals and "eerie" lyrics.[27]
The cover depicts a book cover with a weeping minotaur.[33] The minotaur, a motif of the Amnesiac artwork, represents the "maze" Yorke felt he had become lost in during his depression after OK Computer;[35] Donwood described it as a "tragic figure".[35] Figures included in the album booklet include faceless terrorists, self-serving politicians and corporate executives. Yorke said they represented "the abstracted, semi-comical, stupidly dark, false voices that battled us as we tried to work".[36]
For the special edition, Donwood designed a package with a hardback CD case in the style of a mislaid library book. He imagined that "someone made these pages in a book and it went into drawer in a desk and was forgotten about in the attic ... And visually and musically the album is about finding the book and opening the pages."[33] The special edition won a Grammy Award for Best Recording Package at the 44th Grammy Awards.[37]
After Radiohead's previous album, Kid A, had divided listeners, many hoped Amnesiac would return to their earlier rock sound.[67][62] The Guardian titled its review "Relax: it's nothing like Kid A".[67] However, Rolling Stone saw Amnesiac as a further distancing from Radiohead's earlier "Britpop-like" style,[64] and Pitchfork found that it was nothing like Radiohead's 1995 album The Bends.[62] Stylus wrote that although Amnesiac was "slightly more straightforward" than Kid A, it "solidified the postmillennial model of Radiohead: less songs and more atmosphere, more eclectic and electronic, more paranoid, more threatening, more sublime".[68] Yorke felt Amnesiac was no more accessible than Kid A and would have elicited the same reactions had it been released first.[8]
Robert Hilburn of the Los Angeles Times felt that Amnesiac, compared to Kid A, was "a richer, more engaging record, its austerity and troubled vision enriched by a rousing of the human spirit".[60] The Guardian critic Alexis Petridis, who had disliked Kid A, felt that Amnesiac returned Radiohead to "their role as the world's most intriguing and innovative major rock band ... [It] strikes a cunning and rewarding balance between experimentation and quality control. It's hardly easy to digest but nor is it impossible to swallow."[67] He criticised the electronic tracks "Pulk/Pull Revolving Doors" and "Like Spinning Plates" as self-indulgent, but praised the album's "haunting musical shifts and unconventional melodies".[67] The Guardian named it "CD of the week".[67] Stylus wrote that it was "an excellent disc", but was not as "exploratory or interesting" as Kid A.[68]
Some critics felt Amnesiac was less cohesive than Kid A. The AllMusic critic Stephen Thomas Erlewine wrote that it "often plays as a hodgepodge", and that both albums "clearly derive from the same source and have the same flaws ... The division only makes the two records seem unfocused, even if the best of both records is quite stunning."[57] Another AllMusic critic, Sam Samuelson, said Amnesiac was a "thrown-together" release that might have been better packaged with the live album I Might Be Wrong as a "complete Kid A sessions package".[70] Schreiber, however, felt the "highlights were undeniably worth the wait, and easily overcome its occasional patchiness".[62]
Amnesiac was nominated for the 2001 Mercury Music Prize, losing to PJ Harvey's Stories from the City, Stories from the Sea, for which Yorke provided guest vocals.[71] It was the fourth consecutive Radiohead album nominated for a Grammy Award for Best Alternative Music Album,[72] and the special edition won a Grammy Award for Best Recording Package at the 44th Grammy Awards.[37]
Several publications named Amnesiac one of the best albums of 2001, including Q,[73] The Wire,[74] Rolling Stone,[75] Kludge,[76] the Village Voice, Pazz and Jop,[77] the Los Angeles Times, and Alternative Press.[78] In 2005, Stylus named it the best album of the preceding five years.[68] In 2009, Pitchfork ranked Amnesiac the 34th-best album of the 2000s[79] and Rolling Stone ranked it the 25th.[80] It is included in the 2005 book 1001 Albums You Must Hear Before You Die,[81] and number 320 in the 2012 edition of Rolling Stone's "500 Greatest Albums of All Time" list.[82] "Pyramid Song" was ranked among the best tracks of the decade by Rolling Stone,[83] NME[84] and Pitchfork.[85] be457b7860
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