Promo for Kid A included a 2000 European tour inside a custom-built, advert-free tent, reportedly inspired by Naomi Klein’s anti-globalization book No Logo.

What it did do was upsize the band’s already rich explorations of the relationship between sound and visual art. Of course, it wasn’t-at least if Yorke and the gang are to be believed. Subsequently, Kid A was seen as a drastic attempt to downsize that following.” “In the wake of OK Computer, Radiohead’s refusal to assume the mantle of gunslingers seemed at odds with the size of the following they’d attracted,” Nick Kent wrote in Mojo.

Of course, Kid A, too, scored a number one all the while Radiohead were pushing their listeners further than their poppier earlier records ever dared to. It’s a record that stays with you forever-to me, their very best-and is perhaps a reflection of the disillusionment or newness that came with its predecessor OK Computer’s runaway success and accompanying chorus-bellowing. Radiohead’s Kid A couldn’t have really come at a better time, or with more suitably beguiling, plaintive artwork than that created for it by the band’s longtime collaborator Stanley Donwood. Here it was, shiny and new-a future as imagined by Kubrick and lived by us, with our midriffs bare and our trousers soaking up the puddles of the former decade’s Brit Pop/Art excesses. We’re back in the year 2000: that milestone in which we all packed our sheds full of Pasta ’n’ Sauce (maybe that was just my family?) and braced ourselves for either the Millennium Bug, the apocalypse, more old shit from Robbie Williams-or, terrifyingly-all three. Thom Yorke, you sure know how to celebrate. What better way to usher in the new millennium than with dystopian landscapes, despair and ennui all set to jittery percussion and seething synths.

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