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Radiohead's third album got compared to Pink Floyd a lot when it came out, and its slow drama and conceptual sweep certainly put it in that category. OK Computer, though, is a complicated and difficult record: an album about the way machines dehumanize people that's almost entirely un-electronic; an album by a British "new wave of new wave" band that rejects speed and hooks in favor of languorous texture and morose details; a sad and humanist record whose central moment is Thom Yorke crooning "We hope that you choke." Sluggish, understated, and hard to get a grip on, OK Computer takes a few listens to appreciate, but its entirety means more than any one song. --Douglas Wolk

Filling the gulf between OK Computer's epic progressive rock and Kid A's skittering electronic theatrics, Hail to the Thief borrows equally from each. Its title implies that this will be a collection filled with songs of anger and dissent, but Radiohead no longer howl at the moon like they did on 1995's The Bends. Instead, they use eloquent metaphors and complicated arrangements to express the uncertainty, fear and anger arising from the 2000 U.S. presidential election and a post-9/11 world. There's no doubt about where Thom Yorke and company stand; the prog-rock break on "2 + 2 = 5" and Yorke's terror at the thought of being "put in a dock" make that immediately clear. But there's a prevailing sense of powerlessness here. The tinkling piano behind the cold sonic surface of "Backdrifts" and the brief, swooping melody in the middle of "Sail to the Moon" are islands in a sea of confusion. Like the band's best work, Thief requires more than a few listens to fully appreciate, but those who stick around will be richly rewarded. --Matthew Cooke

With every record, Radiohead jump off higher and higher cliffs, daring fans to take the plunge in their artistic feats of derring-do. The journey from that scratchy bit of raw guitar angst in "Creep" (from 1993's Pablo Honey) to any song on Kid A amounts to a high-wire act that few, if any, bands in popular music have ever attempted. It's hard to believe both records come from the same planet, much less the same band. Likewise, the grandiose, Pink Floyd-esque thematic scope of 1997's extraordinary OK Computer is nowhere to be found here. Quiet, contemplative, and less confrontational, it opens with a lack of bombast, as "Everything in Its Right Place" builds tension with ghostly voiceovers, a dry pulse, and a shadowy organ motif. That tension appears over and over on Kid A. On "How to Disappear Completely," the unsettled, atonal keyboard waxing in the background offsets the plaintive Thom Yorke vocal, and on "Idioteque," detached, inorganic rhythms make the melody's despondent aimlessness that much more nerve-racking. Throughout, Radiohead fearlessly explore dissonance and structure, melding twisted, Brian Eno-meets-Aphex Twin sonic landscapes with utter discontent in the world around them. They may sometimes overreach, letting artsy ambition prevent them from giving us the arena rock-god goodies. But their commitment to restless creativity also yields pleasures that don't fade but instead become more resonant upon repeated listenings. If OK Computer was rock's most relevant expression of millennial angst, Kid A is the opposite; it's the 21st century's first record that sounds like the future, barely caring what that Y2K fuss was all about and much more worried about what the hell we're all supposed to do now. --Matthew Cooke

The debut album for French act which includes the single 'Too Young'. The Face magazine said, 'Undoubtedly the best post-French house, seventies Californian, country-rock concept album of modern love songs you'll ever likely to hear.' 2000release. Standard jewel case.

More song-driven and acoustic than Kid A, Radiohead's Amnesiac isn't quite "Kid B," but it is unquestionably cut from the same far-out cloth, as the band revels in fascinating quirks and abject nihilism. It's also the first time in Radiohead's career that a new record hasn't meant a complete shift in artistic priorities. Surely, however, regardless of which was released first, they both deserve recognition; after all, Amnesiac, like Kid A, is an amazing piece of work. Only lightly augmented with electronics, songs like "You and Whose Army?" and "I Might Be Wrong" almost sound like they came from a typical five-piece rock band. You may even believe the band still employs a guitarist after hearing Jonny Greenwood's wistful surf-guitar lead on "Knives Out" or his subtle but noticeable contributions to the anticapitalist rant "Dollars and Cents." But inevitably, the band continually shifts gears, moving into Boards of Canada territory on "Like Spinning Plates" and delivering dark, bass-laden oddities like "Pulk/Pull Revolving Doors," a fuzzed-out piece of avant-garde techno that could just as easily be on an Autechre or Aphex Twin record. The song's half-sung, half-spoken vocal was laid down by either a heavily distorted Thom Yorke or, just perhaps, a loquacious microwave oven. Either way, the music always has momentum, regardless of whether propelled by man or appliance. Radiohead as a band understand how to make rock interesting again, and in the end, that's all they set out to do when they recorded Amnesiac, as well as Kid A. It's more than can be said for the bad frat-punk, teen-pop and soulless techno that currently rules the charts, and for that alone, Radiohead's astonishing exploration of 21st-century anguish deserves credit. --Matthew Cooke Radiohead Photos More from Radiohead OK Computer The Bends Kid A Pablo Honey Hail To The Thief The Astoria London Live

You might expect the debut album from a woman who has collaborated extensively with Tricky and Orbital to be both wondrous and strange--and you'd be right to. What you might not expect is the depth of Alison Goldfrapp's beguiling, distracting 21st-century noir visions on Felt Mountain. She and her fellow composer Will Gregory can mix in Brechtian cabaret; classical instrumentation; left-of-field electronics; decadent, Gainsbourg-style French pop; and the odd piece of whistling on just one track ("Felt Mountain"). "Oompa Radar" almost reaches Tom Waits heights of infamy from the way familiar instruments come together in such a simultaneously comforting and alienating style. The baroque "Paper Bag," meanwhile, uncannily recalls Joe Meek's toy-town visions of 1960s grandeur. All this and a seductive vocal to die for. --Everett True

2002 mix CD from the Dutch trance master. 15 tracks, Noa Assembly 'Into The Fire', DJ Hooligan 'Hear You Now (Grand Chillas Mix)', Starecase 'Faith (Loafer Mix)', Andain 'Summer Calling (Josh Gabriel Mix)', Solar Stone 'Solar Coaster', Tremor 'Meia Lua (Steve Gibbs Remix)', DJ Tiesto 'In My Memory', Argonaut 'Your Body Is A Temple', World Clique 'Don't Do It', Chiller Twist 'Strangz Ultd. (Shelly Mix)', Paul Oakenfold 'Southern Sun (DJ Tiesto Mix)', Accessive Rhythm 'Activate', Way Out West 'Mindcircus (Gabriel & Dresden Remix)', Nalin & Kane 'Open Your Eyes' & Jericho 'Personal Reflextion'. Slipcase.

2000 release for the extremely talented and unsung DJ duo. An amalgamation of reggae dubplates, lounge muzak, breaks, beats and bossanova. 2000 release. Standard jewel case with slipcase.

No Description Available.
Genre: Popular Music
Media Format: Compact Disk
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Release Date: 8-JAN-1991

A 3-disc Deluxe Edition of Air's seminal 1998 debut album "Moon Safari", packaged in a case bound book DVD size. Second audio disc features rarities, remixes (Beck, Moog Cookbook) and key songs from radio sessions recorded during 1998. DVD component is the hour-long Mike Mills documentary "Eating, Sleeping Waiting and Playing" filmed in New York, London and Paris during Air's first tour.