OK Computer

An absolute classic, with quite a bit of noise in between bangers of songs. Paranoid Android and No Surprises are timeless, and while this album (and Radiohead in general) is forever ingrained in my memory for being amazing soundtracks to Ergo Proxy and Confessions (Kokuhaku) I can't give this the full 5/5 because a lot of songs are just a bit too noisy/weird..

I enjoyed it, never listened to Radiohead before but I know they've got a big reputation. The album didn't really have any duds and flowed well. I also was interested by the theme of the album. However it will not forever be associated with a failed flight attempt at an airport

Really great album.

Early Radiohead is the best Radiohead. Before they were afflicted with “biggest band in the world” syndrome. Listening to this makes it easy to see where Muse comes from. Really incredible album. Let Down is the best track.

Karma police #genieten

PREFACE: I've given this album a try in the past, but it never "stuck" or I never "got" it. And I know it's considered one of the all-time greats, especially from a 21st century viewpoint, and therefore this time I'm going to go in having done a bit of reading, so I know what to expect. REVIEW: [First listen] Really appreciated the experimentation being demonstrated here, with the unique sounds, wailing style of singing, and the recording which is very raw, giving me a 'live' vibe - never been a problem for me, that! [Second listen] Appreciating the guitar a lot more. Also quite sure there's a number of other instruments being used in songs such as "Paranoid Android", and the music sort of builds up to a great crescendo very often in the album. And the jumps between slow and fast are reminiscent of more recent music I've heard such as Steven Wilson's "Hand. Cannot. Erase", pointing towards this album's influence on future artists of a similar vein. I'm also trying to keep an eye out for the lyrics. I am aware of the album's overall theme, but connecting it to these lyrics doesn't seem straightforward at this time. No matter, I'll be happy to read about it later. The bandmembers do not consider it a "concept album". Interesting. Overall a very consistently enjoyable listen. There is definitely more to appreciate and gather from it on future listens. For now, a high 4/5 from me.

Depressing, but essential listening. I feel like it’s one of those albums that if you were around then, it means something to you. Even if it’s just a funny clip from The Royale Family.

Do I enjoy Radioheads music? No. Is this a well made album? Yes. Did I enjoy? Sort of. When Thom Yorke isn’t wailing sadly over lushy produced tones it’s great. When he is…it sounds like bad shoegaze.

hey this computer... is pretty okay :( (fav songs: airbag, let down, karma police, no surprises)

Enjoyed this one. Didn't know any of the songs (maybe heard one before). Some I liked better than others, but didn't dislike any. Such a nice change from what we've been getting 😂 8/10

4/5 I really enjoyed this one. There is just something kinda eerie and dark and mysterious but extremely musical and easy to listen to for me. It was more "rock and rolly" than I remembered. Will listen to again.

Cet album expérimental de Radiohead est une tentative étrange et quelque peu frustrante de fusionner technologie et musique. Bien que le concept de crier "Ok Google" tout au long de l'album soit intéressant, l'absence de réponse du moteur de recherche laisse l'auditeur avec un sentiment d'incomplétude. La musique elle-même est éclipsée par cette performance vocale répétitive et perturbante, laissant l'auditeur se demander si l'expérience en valait vraiment la peine.

À peine sorti de cure de désintox, Robert se poudre déjà le nez, ce bon vieux Robert est décidément irrécupérable.

Good, but by no means as good as some people claim.

Thought this would be another distortion filled rage thru chord progression. Pleasantly surprised how easy it was to listen to

Psychedelic grunge

This album holds up

I like Radiohead, I really do but it really is hard to understand what Yorke is singing at times. This album is loud spacey music, it’s gorgeous and confusing. Favourite tracks, Paranoid Android, Exit Music, Electioneering and No Surprises. 4 stars

Good album but not their best.

its okay. I like creep

They're clearly very talented, and I can see why people rave about the album, but most of it is just not my style. Not a fan of the whole atmospheric, ethereal style of song, which a lot of this is. When they venture into other styles, like the rock-ier Electioneering, it works a lot better for me.

Great album, yes can be depressing but quality songs

9/10

OK Computer was good Radiohead by all the standards we've had from them, and the fact I don't especially like them. I'd go as far as to say it's my favourite of theirs, strong throughout.

Much better than the other album of theirs that we've had so far - know this one from before, it's really good. Paranoid Android is one of my favourites of there's Karama Police too, there's levels of energy in there but also sophistication. 4/5.

The one and only, an album one cannot ommit. Paranoid Android remains one of my favorite songs of all times. This album sounds so great, most the songs are spotless. I removed a star because it gets a tad bit long towards the end of the record.

I understand that this a great album and that it's very critically acclaimed and that it sounds good. I'm just not obsessed with it. Maybe it's because I'm a lyrics girl and I can't understand a word of it. Maybe it just doesn't bring me joy and that's ok... I feel uncool though. Don't tell cousin Brian.

Selection of some great tracks

Lindo album. Suena distópico, como algo que pudiera encontrar en Serial Experiments Lain. Me gusta en general, pero tiene un par de canciones medio densas.

As someone who listened to Muse over Radiohead most of their life, I had always heard Muse was the rip-off band, among other things. Personally, I don't hear it that much, other than both being alternative rock bands that tend to use electronic sounds, so space rock. That being said, this album is still alright. I mean, it's nothing too crazy, and I knew most of my favorite songs off this album before starting (Subterranean Homesick Alien, No Suprises, etc), so nothing was too big of a revelation, but I still enjoyed it pretty well. It certainly is claustrophobic and hits what it's trying to do super well, almost like being stuck underwater, but in a good way.

I like computer type sounds and stuff, fav song paranoid android, least fav no surprises

8/10

High quality

This is my second listen. I don’t have much to say about this. I like electronic rock, so I like this. Thom Yorke’s mewling voice is really distracting though, and the mood of the album never really changes.

Better than I thought. I've never really been a Radiohead fan, but I actually enjoyed this.

A nice to return to being 15 with the world still to scratch off

Instant bangers: Airbag Paranoid Android Karma Police No Surprises Needs relistens

Rock alternativo

Bassolinjat, tiettyä alkuvuosien Musea, tai varmaan toisinpäin…

Man, this is just such a pretentious album. I mean, it's just so up its own butthole I'm certain it can see its tonsils. But Radiohead seems have the skills to back it up, so I guess they get a bit of a pass? I can't say I enjoyed this so much as I appreciated it. But I really did appreciate it quite a bit. There's a lot of skill, dedication, attention to detail, and hard work on display here and that's worth several stars from me. I just wished it was a more enjoyable listening experience. It drags on so long that, by the end, I was just ready for it to be done. My ears were tired. I can't give it a 5 but "OK Computer" has earned every bit of the 4 stars I am willing to award it.

Fantastic album, need to be in the mood for it though

Amazing of course. Still a weird album to listen to all the way.

It would be great to get high to and get lost in.

Undeniable classic from a band I’m just so so on lol

No Surprises clears 😎 I love being annoying.

I liked this although it was not as good as Kid A

It's good, it's no Kid A though.

It’s good, really good but it’s not the greatest album ever, it’s not even radioheads greatest album

I love the paranoid android intro I don't know why radiohead makes me uncomfortable This whole album is so good and cohesive but it leaves me feeling really on edge

In retrospect, Radiohead were really rather good. This isnt their best, mind

6/12, 50%

If I were to have ranked Radiohead's albums in order leading up to this experiment, OK Computer would have topped the list. It's a captivating, moody, eerie sound of paranoia at its best, and it boasts notable, numerous classic songs. (Side note, Sylvia was present while I listened to this — more than once in the past 24 hours — and kept commenting on how this song and this song, oh and this song are popular these days. So yeah, this album has a good chance of being BIG). But damn, The Bends is all those things, and even better. So flim-flam! This album, great as it is, just toppled off the top spot from Andre's coveted list of Radiohead album rankings that doesn't exist into the #2 position. And since we're likely to hear another Radiohead album in a week, let's see what happens then. So yeah, loved the album, and now that there's a massive body of work piled on top of it from Yorke and the crew, you can almost hear the songwriting morphing in real-time from expert alt-pop to something totally new. Yorke seems ever more interested in exploring sounds (including the sound of his voice) in unconventional ways, and you can almost hear Kid A and Amnesiac coming as this album plays. But then, what to rate it? It's a fantastic album, for certain, but I'm surprising myself that this isn't an automatic 5. It's a four-plus, but in this case, I'm rounding down. Struggled with that.

What's with all the Radiohead lately? Anyway, I know I've been kind of down on them with the past two reviews, this one I still dig. Mostly. It'd been a while since I listened to it all the way through—though when it first came out, I practically wore out my copy, that's how obsessed I was with this band. Anyway, today I was really enjoying it, marveling at how fantastic the first six songs were. And then the three song stretch of Fitter Happier through Climbing Up the Walls hit and all the energy got sucked out of me. I still love No Surprises and The Tourist, but by that point I'd had my fill of Thom Yorke's whiny delivery. Hence the 4-star rating. I can't stress enough how much this album wowed me upon release. Also, I saw a review once that merely said "Punk Floyd," and I still think that's a perfect summation.

Es un disco que empieza con una buena canción, le sigue una excelente canción, continúa con otra gran canción y así hasta el final. ¿Triste y melancólico? seguro que sí, pero no entiendo a quienes lo critican por esto. ¿Será que viven en el invento de un eterno cumpleaños?

very good album, many songs that are class and backing track was consistently good

One day, we'll be able to fully celebrate Nigel Godrich's contribution to the Radiohead sound the same way we talk about George Martin and The Beatles. This isn't to take away from the drive and curiosity of the Oxford Five. I'm not suggesting either that Godrich isn't already acknowledged as a pivotal influence on Radiohead. (Radiohead themselves talk about this a lot, particularly with regards to Kid A and In Rainbows. Still. Listening to OK Computer OKNOTOK for this, and for the first time (I didn't see the point in listening to it on random demand. I've listened to it perhaps a thousand times (I'm not exaggerating) and only will now, otherwise, if I feel an active yen for it) gave a real feel for the paradigm shift Radiohead made in 1997. (It was a paradigm shift until their next album, which made this one seem like an adventurous but nevertheless predictable progression from The Bends). The OKNOTOK songs are all fine, but they mirror the sonic trajectories of their BritPop peers – more of the same, with more production money. The understanding I take from this is that Godrich's nudging and prodding pushed Radiohead along until they found themselves in a place they didn't recognise. And, to their credit, decided to hang a round and make the best of it. It's impossible to listen to this now without thinking about the canon as a whole, and in that sense this is (unfairly) smothered, slightly, by Kid A/Amnesiac. For all that, as an album made with both eyes on the audience, it is up there with the best.

favourite song: karma police least favourite song: fitter happier just a very good album, not my favourite by radiohead but still worth a listen and one i'll definitely come back to

Okay the guitar kinda slay, lil to much beep boop tho No Surprises is so special to me - I remember listening to on repeat two spring semesters ago. So cold out lol Yeah, this was pretty good haha

Klassiker, alternativ rock, electronica, rammende lyrik

Chill.

Mjög góð plata. Nokkur lög sem eru í all time favourites listanum.

Radiohead expands their horizons, to fantastic results. Moody, almost baroque, with multilayered arrangements and plaintive vocal work by Thom Yorke.

Obviously a great album, but I think I've overplayed it. Beginning to sound a bit dull in comparison with the wilder Radiohead records we got post millenium. On fresh ears this probably still slaps.

Took a long time, but was good, very nice to hear the familiar songs.

Really got atmospheric sounds

Weirdly soothing for being so depressing. Great listen though.

Good sad time

Tämäkin oikein menevä.

I really didn’t care much for these tracks, or Radiohead, when the album dropped in 1997. However, the ensuing 25 years has brought my brain around to their brilliance, propelling Thom Yorke and company to top positions in my hierarchy of favorites bands. This is not my favorite album by them but certainly not my least (that will forever be Pablo Honey.) It’s like choosing a favorite child. If you like this album, do checkout the album reissue Ok Computer OKNOTOK 1997 2017. Lots of excellent tracks there. Highlights for me: *Airbag and also it’s transition into Paranoid Android. *I may be an android but I’m not paranoid. *Subterranean Homesick Alien is just fukkin’ lovely. *I’m just uptight, uptight *Let Down is appropriately named. Actually my least favorite track and not a highlight but that’s an unpopular opinion. *Fitter Happier is a total BANGER *I love Electioneering, even if Thom Yorke hates it. *Climbing Up the Walls is a personal anthem. What does that say about me? *Bring down the government, they don’t, they don’t speak for us. *The Tourist *That DING at the very end of the album.

Both overrated and great. Is it the 42nd greatest album of all-time like Rolling Stone suggests? Christ no. It's somewhere in the Top 250, as long as it's behind Kid A. It's aged quite well, and likely will continue to do so. My favorite track is "Let Down", and I wish the album was more like that classic Radiohead work of art. Actual rating is a 4.5.

After this album, Radiohead and I parted ways. I think OK Computer is fantastic, but I liked where they came from more than where they were headed.

The only Radiohead album I own, so obviously not a hardcore fan but this was the one for me. The Hitchhiker's Guide nods don't hurt, including the title track, Paranoid Android. Then on its own Karma Police is one I have listened and added to on multiple playlists. It never got better than this for me with them.

See i know this is supposedly amazing, but there's no denying it's depressing. Much prefer their bleepy bloopy. 4 for familiarity.

Love radio heads chill rock style

This is the third album from Radiohead and it's another alternative rock piece, but with a dash of progressive rock. The album's themes depicted a dystopian future world of consumerism, social alienation/isolation, and political problems, which turned out to be spot on just a couple decades later. OK Computer is critically acclaimed, certified double platinum in the US, and won a 1998 Grammy for Best Alternative Music Album. This album can be considered a stepping stone for modern rock as the songs recemented what rock music actually can be. As with other Radiohead albums - I like this. In my opinion, it may not be as good as their previous album "The Bends" or their next album "Kid A", but "OK Computer" is something special in it's own right. This album provides a seamless transition from punk rock in "The Bends" to electronica rock in "Kid A". You have to give this album a listen!

As interesting as ever

I didn't like Radiohead much at the time - and I've got to admit that while a few of their songs are really good, I have never really been able to mesh with their vibe. Saying that, the good really is good and both the production value and musicianship are superb.

It’s hard to be a Radiohead fan. Their LPs, often their individual songs, are tests of emotional endurance. 'OK Computer' is the sound of desperation, pure and simple. ‘No alarms and no surprises. (Get me out of here,)’ sings Thom Yorke, and his delivery puts him in that rare breed of vocalists who can take an otherwise sunny melody (‘No Surprises’) and sing it into a gathering of dark storm clouds. Likewise, his ultra-personal imaginative take on William Shakespeare's 'Romeo and Juliet'-‘Exit Music (For a Film)’- is performed with exquisite passion, but is also crushingly gloomy. He’s none to gentle on others, either. From ‘Paranoid Android’: ‘When I am king you will be first against the wall with your opinion which is of no consequence… at… all.’ ‘The Tourist’ is about the closet thing you’re going to find on 'OK Computer' to an inspiring, positive song, and even then, the most uplifting lyric in it is: ‘Idiot, slow down!’ Meanwhile, the other members of Radiohead do their part in offering musical expression to these anxious lyrics, as do the recording engineers. In fact, the whole thing is purposefully recorded and mixed as if the volume levels were pushing their limits. It has a distorted, ‘crashy’ kind of sound that tends to wear on the listener’s patience. I felt somewhat unsettled throughout the entire LP. On a good note, there’s a lot of musical honoring of classic rock artists sprinkled all over 'OK Computer,' like the Beatles ‘Sexy Sadie’-inspired piano part on ‘Karma Police.’ And if you’re a fan of progressive rock, in particular, Radiohead’ll give you enough time signature changes and dynamics and such to hold your interest. Talented and creative players, they can get too busy, as on ‘Electioneering.’ Ending the LP with the much slower ‘The Tourist’ in contrast to all that had gone on before was a bold, but successful idea. In the end, I appreciated more than enjoyed 'OK Computer.' This LP requires a large measure of emotional wellness before listening. It ain’t ‘OK Pollyanna,’ not by a long shot.

4.25

😔🤘

Very enjoyable. No one song really stood out to me though.

8/10. Very pleasant, and good songs, I just don't love listening to Radiohead for the length of an entire album.

Full disclosure: prior to today I'd never listened to a Radiohead album, couldn't name a Radiohead song. I was looking forward to hearing what everyone else has been talking about for the last 25 years. A couple of the songs (Airbag and Subterranean Homesick Alien) grabbed me by the heart and declared themselves mine immediately. I found Exit Music, Electioneering, and Lucky entertaining. And the rest, even through multiple listens today, just OK. Like I felt with Blur's Modern Life is Rubbish, this album feels to me like a reaction to something and I can't quite tell what that something is but it makes the band hard to pin down, to put in a love-it/like-it/don't-care-for-it box. I love Airbag and SHA enough though to give this four stars.

4.4 - love this album. Still remember getting it the first week it came out. It probably lost a step or two since I first listened to it, but the nostalgia keeps it in my top tier.

good stuff

Niin mega cool levy! Jotenkin tän kanssa on kasvanut ettei osaa oikeen kyseenalaistaa tätä. 4/5

On myönnettävä, että (kenties häpeäkseni) en oo ikinä jotenkin 100% tajunnu Radioheadia. Musta ne on aina olleet hyviä, mutta tuntuu että jotenkin pitäisi arvostaa mestariteoksina. Kiinnostava se on silti, 4/5. Muistaakseni tykkäsin Kid A:sta enemmän, katotaan mitä mieltä oon kun se tulee (kai sen on pakko olla listalla?).

One of their best albums

Surprisingly (I say "surprisingly" because this isn't generally my genre of music), I REALLY enjoyed this album. I wouldn't say I would regularly listen to every single track but MOST of these hold up brilliantly. It's hard to explain but the vibe I got from this personally is that it's like if the Smiths and Coldplay had a baby? But like, in the BEST way. Really good album. Definitely deserves to be on this list. Fave track: Let Down. This whole album was magnificent at making me sad without me knowing why.

Muito bom.

Never been a huge Radiohead fan, but this album kind of slaps. Reminds me of Serial Experiments Lain in some ways.

A good radiohead album, though I found myself skipping a track or two.

muy bueno, pero muuuuy triste

Great

I think enough has been said about this album. 4,5*

Radiohead is always great. Awesome album.

Now this is a Radiohead album I can get behind. The subdued opening of Exit Music (For a Film) is a great passage that sucks the listener in with an overall benefit of psychologically amplifying the more intricate portions of the album. The computer voice on Fitter Happier is a well placed statement on mid-1990s technology. Computers are here…can do cool stuff… but primitive sounding. The overall sound is experimental and ambitious. It’s rock. It’s acoustic. It’s electronica. It’s intimate. It’s loud and distorted. It’s even got a guest appearance by Stephen Hawking. In summary it’s wonderfully eclectic. The last third of the album does feel like a downward trajectory musically for me, excepting No Surprises. I feel like giving bonus points for Subterranean Homesick Aliens referencing my boy Bob Dylan’s Subterranean Homesick Blues. I’m also tempted to give an extra star because “The album initiated a stylistic shift in British rock away from Britpop . . .” (Wikipedia), which is a benefit to all. However, no bonus stars given.

Hooray to my second favourite Radiohead album! I recall a time, during the later nineties, when this album was what you’d play in order to impress others by your sheer coolness.

Already know this one, but haven't listened to it in quite a while. It's not my #1 album from them but still great.

Ja va mer kritisk nu för leonard ha vari en så stoe hater men de va banger album va snackar han om 4/5

Gran disco!!! Lo conocí tiempo despues del lanzamiento, eso puede explicar por que no me parecio tan revolucionario, Kid A me lo parece más. De culaquier modo es un discaso.

"Ok computer" is so much different than any other Radiohead album that I know. This kind of difference makes sense to how extent this album is famous and recognizes as a great one. It really is a great album besides any comparison with the rest of Radiohead discography.

111120 13:33 4

En general, no me gusta Radiohead. Una vez dicho esto, no hay forma de negar que éste es un gran disco. Atmosférico, a ratos pesado y con letras complicadas, no cabe duda que es su mejor disco. En esta ocasión pude soportar de mejor manera No Surprises, lo cual es sorprendente porque odio el video y hace que no me guste la canción. Let Down y Karma Police son las mejores. 4.5 que voy a bajar a 4 por ese maldito video y porque tampoco lo escucho seguido. Una vez cada 5-6 años es más que suficiente.

Es que no puedo con el cantadito chillón y tembloroso de este wey. El disco tiene para mí dos o tres grandes momentos (No Surprises y Electroengineering), pero 1) Son los momentos menos Radioheadezcos del disco 2) Suceden poco y de todas maneras hace su voz. De no ser por ello, estaría tentado a ir por las 5 estrellas.

I’ve never been a big fan of Radiohead but I went into this album with an open mind and came out pleasantly surprised

Great album but not as good as The Bends

I'm convinced that 90% of Thom Yorke's music is in a 3/2 time signature. Rating: 4.2/5

Still holds up. This was on repeat in my life (like everyone else's) for quite a while, but I haven't heard it in probably 10 years now. It's not my favorite album of theirs, but not a bad way to spend a morning.

Classic album, but have to be in a specific mood to enjoy it all the way through in a go. Some really good elements

Melancholy sounds, but enjoyable. Easy to listen to as background music while working, or probably doing anything.

Schon super!

Groß in seiner Zeit

I may be grading the overall album generously because of how much I love Karma Police.

tiene temazos,karma police, no surprises... otros pelin duros. buena recomendación

Never actually listened to a Radiohead album in full (Tom spits out drink) Time to see what all the fucking fuss is about Paranoid Android starts out and I think *sounds a bit like Muse* (Tom has a small stroke) A few more songs go by. Sounds a bit like thoughts rear a couple more times. Did Radiohead influence the next 20 years of music that would follow? Is that it? I don’t know. It’s alright so far though. Electioneering. Yes. Finally a banger. I’ve thought this before. I can’t remember if it was added to the playlist by someone else and I latched on, or if I somehow stumbled on a Radiohead song that I liked and thought *ooo quick make it look like you’re listening to old Radiohead*. Might be the second one. What a cunt. Enjoyed the rest of the album. Picturing them headlining Glastonbury with it. *Was it like Arctic Monkeys headlining with AM? And the start of some world domination *Oh ffs you’ve really blown the facade now dickhead. Arctic Monkeys? Christ Spotify’s all powerful algorithm moved on to In Rainbows, which (it turns out entirely predictably) was more my jam. Would listen again. Onto In Rainbows first though. ⭐️⭐️⭐️⭐️

Just a great record. Haunting in the best possible way.

A bombastic wall of sound that needs to be consumed from an auditory squint, this album requires the right amount of abstraction and pull back to dive in deeply, but it does Play with some really fun things and manages to come across with a coherent theme.

Stunning, but we knew that already didn't we. I've obviously listened through the album in it's entirity a few times, but loved doing it again

So many great albums by Radiohead. This one is punctuated by Karma Police...

Definitely conjures a time and place. I remember listening to this one on repeat. Holds up but maybe that's nostalgia speaking. There is a great mix by Roman GianArthur that I recommend wholeheartedly.

Definitely worth a second listen

Was never a Radiohead fan, but having listened with an open mind, I can see the appeal. The lead vocals lead the music and fit their mood perfectly, and the atmosphere created is well crafted.

Cool and atmospheric. I felt it got a bit tiring towards the end but it's overall a nice experience. I listened to it while doing other stuff though, I think that for a more active listen you'd have to be already in the mood.

Great album with a good sonic landscape. Holds my favorites of their songs

OK Google

thom you beautiful weirdo my uncomfortable comfort music

Very good album obviously but hesitant to give 5 stars because there was no stand outs just a fluid album which is still incredible

Liked a few songs in there

Solid album. Good guitar. Need more listens

This is what you'll get This is what you'll get This is what you'll get When you mess with us. Ah Radiohead, the jangly discordant melancholy beloved of Johnny Death who would foist OK Computer & Kid A on anyone vaguely interested. Fairly good for walking in the rain.

Killer, but not my favorite album of theirs I don’t think. Think I prefer In Rainbows but need to check

I can see why my elder sister listened to them when she was an emotional teenager haha. Overall, I enjoyed it. The lyrics were pretty powerful, the only downside was it felt more like noise rather than music but I attribute this to deliberation to show some sort of chaos

Makes me think I gave out 3s too generously

Solid background rock

I like Radiohead but some of the songs are a bit too wail-y for me

Not their best but really good album with my favorite Radiohead song on it, "Let Down."

Overall seems calm with guitars every now and then disrupting the calmness. Genuinely liked and enjoyed it.

The album has a depressed/empty. I enjoyed it however I would have prefered it not to be so depressed/empty. I thought No Surprises created that feeling quite well. Fitter Happier was odd. So it isn't entirely unique in that regard but they are quite interesting and rather enjoyable.

quirky and unique, i'd like to listen some more.

achei bem bom

Heavy emotional bagage connected to this, too much for an unbiased listen. It's been at least 20 years. No question it's a great album but also the point after which I lost interest in the band. Still know I will enjoy this, reluctantly. Although, Paranoid Android does slap. Oh, and Lucky.

Classic

4/5 A good album but maybe came out one or two years too late for me to fully get it.

This is not In Rainbows

Just behind The Bends for me

Very good album

A good album that has a variety of tones within the song lists. Clear reason why karma police is as popular as it is.

Much as I hate to admit it, cause they are wankers, it's close to a masterpiece. 9/10

Classic

Great Album.

Good but not as good as The Bends

This album was a pivot point for multiple genres. Historical context proves it immortal - great variety of musical structures and sounds. Always worth a revisit.

Classic.

Used to hate Radiohead but have warmed to them recently (their 90s stuff) and really like this album

Big fan and really like this album.

Knew more tracks than expected, but this is the first time I've listened to any from the album intentionally. The album itself is solid and I can see myself coming back to it often. It definitely feels like an album experience though, I don't see any of the tracks making their way into my daily rotation.

Classic. Loved it in college and still love it now. Reflective, euphoric, bittersweet. Great melody and composition.

Classic

Weird shit into amazing melodies.

Surprisingly way better than I thought. I don’t think I ever listened to a single Radiohead song, so I’m glad this was on the list!

Nearly 5 stars. So good

Comparable to other music I listen to when working. Pleasing, but not something I would need to listen to more with more focus.

Perhaps too hyped up as I always see it as best album ever and stuff and yeah it's good but wouldn't be best ever for me.

S'alright

Listened to this constantly when I was a teenager. Good album but still prefer The Bends

A really good album, but I've never understood why do many people think this is the best album of all time.

Still slow, but better than when I last listened to it.

calm, chill, not my cup of tea overall

4.1

I feel like Muse must have been inspired by Radiohead.

A-Ok!

Have never really been 'on' the Radiohead train, but it's a good album

Constant dans sa qualité. Un régal de temps calme.

there are some good songs, but I don't need the whole album

its an album that grows on you, thom yorkes voice is defining for the radiohead sound and the songs are profound as always

Really liked this album. Fav songs were Exit Music (For a Film), Karma Police, and No surprises.

not my fav album of theirs but my first thought abt this was: so... is this the reference for OK google? and then i searched, turned out they're both referencing HGttG how cool is that! and tru enough, there's a song here called paranoid android

Iha ok mut ootko katto

I liked it, there were a few songs I already knew. I will listen to it again.

1. Chévere lo experimental del tema, no me mató. 2. Me gustó, a pesar de que en un punto parecen 2 canciones distintas y a pesar de lo larga, me gustó tanto la música como la voz. 3.Noiosa 4. Cumple su proposito, transmite bastante, ta buena 5. Suena muy similar a la anterior pero más aburrida, musicalmente no me gustó casi. 6. Está medianamente buena, pero no lo sufiente 7. Not a song. 8. Tiene ritmo ma Non mi piace. 9.Meh 10. Pues, es no surprises, good song. 11.kinda good pero no lo suficiente para decir que la voy a seguir escuchando. 12. No está mal pero después de escuchar todo el album ya se hace muy monotona.

Radiohead pull off this sound really well, but it is unfortunately not my jam.

An attempt has been made here to do something a little bit different.

bom

(Light 6/10) It's so freeing to be able to listen to this and finally not feel pressured into thinking it's good. The first time I heard it I kept deluding myself into thinking it worthy of it's praise because it felt wrong to go against the grain. After multiple relistens, after all this shit was Thom and Greenwood, and after finally being able to shed my shame for having my reservations, I can finally come out and say, this is an OK ALBUM. It's not awful, it really isn't, but like come on. After electioneering it gets so boring. I also can't help but laugh because Muse heard Exit and based their whole sound on that song, and Let Down is solely responsible for Coldplay. For better or worse. So yeah I just can't really take this album seriously. The Bends kicks this album clear out of the water IMO. Paranoid Android is the best song here no question, and everything else is just either pretty good or decent or forgettable to me. I'm so exhausted from Radiohead at this point, it's a wonder I even still like The Bends but that just goes to show how good that record is. anyway. yeah idk.

It was OK. LOL, had to do it. I really did like most of it, it did seemed to go on a bit long, but overall it's good to have on while working. Pretty creative stuff, but would I pick it on a daily? Don't think so ...

I get why people like it its super creative. Karma Police is my personal fav. But I find it in many ways too rich, there's an explorative tangent that Radiohead goes on that makes it easier for me to think "I need to skip" or "stop with the noise" and I end up stopping / skipping. It feels like a chore more than I'm enjoying it - My jaw was clenched from Fitter Happier to Climbing Up the Walls.

Classic 90s I like a couple songs on here obviously, police and lucky. I can see myself maybe replaying this again when I’m in the 90s.

C+, 46% The opening riff of “Airbag” is fantastic because it sounds like a guitar being remembered incorrectly by a machine. Jonny Greenwood hacks out those ugly little chords, Phil Selway’s drums have been chopped and reconstructed into something that lurches rather than grooves, Colin Greenwood’s bass keeps sneaking underneath the arrangement like the only member of the family who remembered to eat, and Thom Yorke starts singing about surviving a car crash as resurrection. Fine. Great, even. This is exactly the kind of technological neurosis OK Computer is supposed to contain, except here the idea is actually embodied in the fucking sound instead of requiring me to read a graduate student’s explanation of alienation afterward. The rhythm has been interfered with. Human performance gets broken apart and turned into circuitry. The guitars retain dirt but have been displaced from the usual rock hierarchy. Yorke’s voice hovers in that permanently distressed upper register where every vowel seems to have just received terrible news. For four and a half minutes the famous masterpiece I have been promised actually appears: late twentieth-century rock music hearing the digital future outside the door and realizing the future is not going to knock. Then “Paranoid Android” starts and I remember that Radiohead are theater kids for people who would rather die than admit they like theater. I do not mean the song is bad. Christ, parts of it are tremendous. The little acoustic figure, the shifting sections, the way Yorke’s irritation keeps changing scale until some asshole at a bar becomes evidence against civilization, Jonny Greenwood’s guitar suddenly sawing through the arrangement like someone trying to amputate modernity without anesthesia. The “rain down” section is gorgeous. Genuinely. Those harmonies arrive with church-music solemnity after all the twitching sarcasm, and for a moment Radiohead’s tendency to inflate discomfort into apocalypse becomes exactly the correct instinct because the music has earned the inflation. Then the distorted guitar returns sounding like Brian May had a psychotic episode inside a photocopier. I enjoy nearly all the individual pieces. I also hear the seams. Everyone else seems to hear a mini-suite revealing the fragmented consciousness of modern life. I hear several good ideas sitting next to each other while wearing a trench coat and insisting they constitute a single tall song. It works because Radiohead are excellent musicians and Nigel Godrich knows how to make transitions feel metaphysically inevitable, but the song’s reputation for compositional grandeur sometimes reminds me of watching men discover that music can have more than two sections and immediately start drawing pentagrams on the floor. This is where OK Computer and I begin having our recurring argument. The record is very good at representing a certain kind of anxiety, but it has spent twenty-nine years being credited with predicting essentially every unpleasant development since 1997, which is bullshit of the finest artisanal variety. The internet got bigger, corporations got worse, surveillance expanded, people became more isolated, algorithms appeared, politics got diseased, phones ate social life, airplanes remained annoying, therefore Thom Yorke saw the future. Come on. People in 1997 already knew corporations were dehumanizing. They knew technology could isolate people. They knew global capitalism treated bodies like replaceable components. They knew advertising was invasive. They knew office work could liquefy a human soul. They knew automobiles killed people, computers were entering ordinary life, CCTV existed, globalization was reorganizing labor, and everyone had just spent decades watching science fiction turn technological alienation into one of the most heavily trafficked metaphors in Western culture. Radiohead did not descend from a mountain carrying a tablet that said SOMEDAY PEOPLE WILL FEEL BAD WHILE USING MACHINES. What they did, much more impressively and much less prophetically, was give the late Clinton-Blair era’s comfortable professional-class dread an extraordinary production vocabulary. That is enough. It does not need to be Nostradamus with a Telecaster. The production is the star, and I mean that in a way that should mildly annoy people who want these songs laminated as sacred texts. OK Computer sounds fucking wonderful. Godrich and the band understand depth. Instruments do not merely sit left and right, they appear at different psychological distances. A guitar can feel like it is pressed against your cheek while a second one flashes from the opposite end of a hallway. Yorke can sound brutally intimate and completely disembodied within thirty seconds. The record uses reverb less as decoration than architecture. There are rooms inside these songs, some enormous, some airless. The guitars are continually being denied their natural rock-star destiny. They ring, scrape, click, drone, shimmer, dissolve, buzz, intrude, retreat. Jonny Greenwood is at his best when he seems actively hostile to the instrument’s conventional beauty, stabbing an arrangement with some noise that sounds like a fax machine being murdered and thereby making the whole thing breathe differently. Ed O’Brien, meanwhile, often supplies atmosphere so effectively that you forget somebody had to physically generate it. There are sounds on this record that became such a basic part of subsequent ambitious rock grammar that hearing them now is like examining the first apartment where mold evolved. That inheritance is part of my problem. I cannot unhear the twenty-five years of bands that followed OK Computer into the cathedral carrying candles and came out with twelve midtempo songs about Modern Life. You can blame the imitators for being shitty, not Radiohead for being imitated, but listening happens forward through history even when records were made backward from us. The album’s solemnity has metastasized. Every falsetto over a delayed guitar, every tastefully distressed piano chord, every video featuring fluorescent lights and a sad man standing somewhere industrial now carries a little Radiohead spore. The original is stranger than its descendants, absolutely, but it also contains the genetic code for a kind of prestige melancholy I find exhausting. You know the mood. Everything is sterile. Everything is alienated. Everybody has a laptop and spiritually works at an airport. Capitalism is terrible, but in an extremely well-mastered way. “Subterranean Homesick Alien” is where that mood becomes both beautiful and slightly ridiculous. Yorke wants aliens to come pick him up so he can see the world from above and explain how fucking weird humanity is, which is basically the fantasy of every intelligent depressed teenager who has ever suspected that being miserable means they have accidentally achieved objectivity. I recognize the mechanism and still want to shake it. The arrangement saves him. Those watery guitars are gorgeous, sliding around one another without establishing a firm floor, and the rhythm section refuses to push. The song levitates because nobody is trying to make levitation impressive. Yorke’s melodic line bends beautifully against the chords, and when his voice climbs, the alien fantasy momentarily stops being the lyrical equivalent of lying on your bedroom carpet and becomes an actual sensation of leaving the ground. Radiohead are always best for me when the music complicates Yorke rather than merely amplifying him. Give him a lyric about isolation and a gloomy piano and we are in danger. Give him something gorgeous, unstable, almost sensually welcoming beneath the isolation and suddenly the contradiction has life. “Exit Music (For a Film)” commits the opposite offense and almost gets away with murder because Yorke can sing the shit out of controlled dread. The acoustic guitar is recorded so intimately you can hear the fingers, the vocal arrives close enough to feel invasive, then the bass eventually enters with that huge distorted underside and the song transforms from whisper to doom. This is excellent arrangement. It understands withholding. The first half does not prematurely announce the emotional size of the second, so when everything expands, expansion still means something. I should love it more. Instead I keep feeling the machinery underneath the heartbreak, the band standing behind the curtain turning the Large Emotional Consequence crank. “We hope that you choke” lands like the line somebody underlined in black ink because they were seventeen and furious, and Christ, at seventeen I might have eaten this thing with my bare hands. At thirty-five I hear the craft before I hear the devastation. The bass distortion is still beautiful. That ugly bloom underneath the vocal, now that is something I believe. The lyric feels like a gesture. The bass sounds like hate. Then “Let Down” arrives, universally beloved, routinely cited as some hidden emotional center despite being on one of the most famous records ever released, meaning “underrated” has apparently lost all semantic content, and I mostly sit there admiring the overlapping guitar patterns while waiting for the transcendence shipment to clear customs. The interlocking rhythms are lovely. The arrangement has that Radiohead specialty where several simple lines produce a shimmering complexity no individual part contains. Yorke’s voice eventually doubles and climbs against itself in a way that should produce the religious conversion people keep reporting. I get a pleasant electrical sensation and no new god. This is not the song’s fault so much as the grotesque burden placed on it by people who discuss “Let Down” like their first child was delivered during the bridge. Still, even stripped of fandom, something about it keeps me at a glass wall. “Crushed like a bug in the ground,” transport systems, disappointment, people becoming objects, yes, I understand. The emotional vocabulary is so generalized that the production has to manufacture specificity from texture. Often it succeeds. Not enough for me to stop noticing the manufacturing. And then the fucking robot voice turns up. “Fitter Happier” is either a chilling miniature about neoliberal self-discipline or a Macintosh performing slam poetry at an open mic where nobody was permitted to leave. Both are true. The synthetic voice listing optimized-life commandments over mournful piano and background noises is the album’s thesis with its clothes off: improved health, productivity, emotional moderation, social compliance, reduced spontaneity, the modern subject converted into a maintenance schedule. It is absolutely clear. Painfully clear. So clear I want to write “YES THOM I FUCKING GET IT” on a Post-it and stick it to the computer. The piece does work historically because the language of self-optimization was only going to become more invasive. Today we voluntarily quantify sleep, steps, food, productivity, moods, attention, exercise, menstrual cycles, screen time, heart rate, fucking everything, turning the body into a badly managed corporation whose CEO keeps receiving push notifications. “Fitter Happier” recognized a real ideological movement, the conversion of wellness into discipline and personhood into metrics. But once the idea has arrived, there is not much left for me to do with the track. It is a conceptual installation placed in the album’s lobby. I look at it, nod, read the plaque, move on. People call it terrifying. My laptop has said worse things to me while installing Windows updates. What follows is more interesting because “Electioneering” commits the grave Radiohead sin of having a pulse without apologizing. Fucking finally. The guitars are dirty, percussion rattles around, Yorke snarls instead of floating three feet above his own body, and the song has the physical stupidity rock music occasionally needs. Radiohead themselves later seemed dissatisfied with it, and of course they were, because this band can make kicking over a chair seem aesthetically suspect unless the chair has been processed through three delay units and symbolizes late capitalism. I like “Electioneering” because it interrupts the album’s immaculate dread with sweat. The lyric’s political cynicism is hardly profound, politicians sell themselves, markets and power are intertwined, congratulations everybody, but the performance does not require profundity. It moves. The guitar sounds like metal dragged across concrete. Selway hits things. For four minutes nobody appears to be contemplating the ontological implications of a motorway. “Climbing Up the Walls” earns the darkness the album sometimes assumes by default. That track is fucking nasty. The percussion is compressed and enclosed, the bass has this blunt predatory motion, electronic noises hover at the edges, strings eventually become less orchestration than infestation, and Yorke sings quietly enough that you have to move toward him, which is exactly where the song wants you before it starts closing the walls. The final scream is ugly in the useful sense, not polished anguish, not a lovely little falsetto tear, but an eruption that briefly ruins the architecture. This is Radiohead understanding horror physically. The song does not merely tell me somebody is psychologically trapped. It takes away air. Those strings toward the end sound like insects gaining union representation. The whole mix becomes hostile. If the album sustained this level of sensory specificity, I would have considerably fewer complaints and several more problems sleeping. “No Surprises” is the song where my irritation and affection crawl into bed together and refuse to tell me which one is on top. That chiming guitar tone is absurdly pretty, essentially a music box, and the melody has the calm simplicity of a lullaby. Yorke sings about exhaustion, domestic anesthesia, work, government, wanting a quiet life, and the whole arrangement smiles while the lyric quietly considers obliteration. Yes, that works. It works almost too efficiently. The contradiction is so clean you could teach it to first-year undergraduates: soothing music plus despairing text equals critique of comfortable alienation. Circle the juxtaposition for five points. And yet the song survives my annoyance because the melody is beautiful enough to become its own argument. There is something about repetition here that feels less like depression performed and more like the actual desire to stop being stimulated, stop being expected, stop having alarms and obligations and somebody else’s systems reaching through the wall. “A handshake of carbon monoxide” is exactly the sort of phrase I would usually accuse of putting on little black eyeliner and waiting to be quoted, but Yorke sings it without theatrical emphasis. The music does not flinch. That restraint is what makes it land. This album is constantly doing that to me, producing something I want to mock and then finding one sonic decision that makes mockery inconvenient. “Karma Police” is the clearest case because I have heard that piano progression so many times that it now enters the room accompanied by its own museum security. The song begins with the sort of chord sequence designed to make a roomful of people immediately decide Something Important is Occurring. Yorke imagines punitive cosmic bureaucracy for annoying people, a man who talks in maths, a woman with a Hitler hairdo, whatever collection of petty grievances has been promoted to metaphysics today. This is funny, intentionally and otherwise. “Karma police, arrest this man” contains all the moral authority of asking your mother to make another child stop touching you in the back seat. But then the closing section happens, the repeated “for a minute there” figure dissolving into feedback and electronic erosion, and again the production discovers something deeper than the lyric. The song begins as judgment and ends in disappearance. The self that wanted everyone arrested gets swallowed too. That is interesting. Radiohead often become profound by allowing their arrangements to destroy the certainty of their own words. “Lucky” gives me the opposite sensation. Everything is present. The guitars swell. Yorke sounds beautifully wounded. The chord changes are stately. The chorus lifts. The production expands with immense confidence. I can practically see the tasteful storm clouds gathering over the English coastline. And I feel nearly fucking nothing. This is the album’s cathedral-rock impulse naked enough for me to identify the smell. The song wants altitude. Radiohead are extremely good at altitude. I simply do not automatically mistake altitude for depth. There are moments when Yorke’s voice hits a certain pleading shape and the guitars spread underneath him and I know, intellectually and acoustically, that the appropriate reaction is supposed to be bodily awe. My body files an objection. Apparently my nervous system has a union. Which leaves “The Tourist,” and I actually prefer the album ending this way rather than trying to explode. The song slows everything down. The cymbals breathe. Jonny Greenwood’s guitar hangs strange little notes in the air. The lyric says, essentially, slow down, idiot, and after fifty minutes of technological dread, traffic, ambition, political disgust, social alienation, psychic surveillance and computers telling everyone to optimize their fiber intake, the advice acquires a nice dumb usefulness. The final bell is almost comic. Ding. Class dismissed. I like that the album’s solution to modernity is not revolution but deceleration. It is inadequate, obviously. So are most things you can fit into a song. Slow down. Fine. Drink water too, I suppose. Call your mother if she is tolerable. Disable some notifications. Marxism will resume Monday. What makes OK Computer difficult for me is that very little of it is incompetent and a great deal of it is impressive, but impressive is not the same neurological pathway as love. Radiohead know too much about what they are doing. Every guitar texture arrives with purpose. Every stereo placement has been considered. Every dynamic escalation knows exactly which vertebra it intends to touch. Selway’s drumming is remarkably free of drummer ego, which suits music built around tension rather than release. Colin Greenwood continually gives songs physical motion while everybody else is busy becoming vapor. Jonny Greenwood spends the record finding ways to make rock guitar sound ashamed of being rock guitar. O’Brien turns electricity into climate. Godrich records all of this with the patience of somebody constructing an anxiety museum where the humidity has been carefully controlled. Yorke possesses one of the most distinctive voices of the era, and he knows exactly how to make a syllable sound like it has been awake for seventy-two hours reading about layoffs. But I do not always like being trapped with him. There is only so much high-functioning despair I can ingest before I start wanting somebody to tell a filthy joke, order bad food, fuck the wrong person, steal a road sign, lose twenty dollars, do anything that proves human beings are not merely anxious nerve endings being transported between corporate facilities. This is not me demanding “messiness” because I think chaos constitutes authenticity. Actual chaos is frequently dull as shit. I have seen enough real human disorder to know it usually involves waiting, paperwork, money problems, someone losing their charger and a conversation that should have ended forty minutes ago. What OK Computer lacks for me is not danger. It is social texture. Its people frequently feel like specimens of systems. Commuters. Consumers. Employees. Politicians. Tourists. Bodies under administration. That abstraction is deliberate, but fifty-three minutes inside abstraction starts making me miss somebody with a weird laugh. Compare this to the records that make alienation sexy, pathetic, funny, embarrassing, bodily. OK Computer rarely sweats. Even when the guitars explode, the album smells electrically clean. Its sexuality is almost nonexistent, which would not matter if desire had not been one of the great available ways of complicating the very systems it despises. Human beings under capitalism still get horny. Usually at stupid times. Often for people who make their lives measurably worse. Desire is inefficient. Desire screws up optimization. Desire makes you miss trains. Desire turns a carefully scheduled day into six hours in somebody’s apartment wondering why you are eating cereal at 5 PM wearing one sock. There is a reason bureaucracies prefer predictable bodies. OK Computer understands the bureaucracies beautifully and seems weirdly uninterested in the cereal. Perhaps that is why its enormous cultural authority has always irritated me slightly. The album became a default object for Serious People Feeling Serious Things About Modernity, and seriousness protects records from useful abuse. Calling OK Computer overrated has itself become such a stale provocation that even saying it feels like completing a CAPTCHA. No, I do not think the emperor is naked. The emperor is wearing an extremely well-tailored coat with phenomenal stitching. I simply keep being told the coat changed my understanding of textiles and I am standing there thinking, this pocket is terrific. The historical achievement remains real. In 1997 a massively successful guitar band followed a breakthrough album not by making the obvious larger version but by disassembling rock’s internal hierarchy, incorporating electronic editing, ambient space, musique concrète-ish interruptions, progressive structures, post-punk abrasion and studio manipulation without turning the result into some academic genre exercise. The band widened what mainstream guitar music could get away with just before rock’s commercial center began collapsing into increasingly conservative forms. And they did it while still writing melodies. That last part matters. A thousand experimental gestures are worthless if I never want to hear the fucking thing again. Radiohead understood pop enough to smuggle oddness through it. The album’s best moments work because the strange shit and the accessible shit are not separate departments. “Airbag” is both. “Climbing Up the Walls” is both. “No Surprises” is both. Even “Paranoid Android,” lumbering sectional monster that it is, has hooks everywhere. But greatness by historical function remains historical function. I am sitting here with the record, not its influence chart. The record keeps alternating between grabbing me by the skull and presenting me with a beautifully printed pamphlet about why skull-grabbing is important. I hear “Airbag” and think, yes, fuck, there it is. I hear the guitar eruption in “Paranoid Android” and wake up. I hear the walls actually start climbing during “Climbing Up the Walls” and the record finally scares me instead of explaining fear. Then I spend long stretches appreciating expensive despair from a respectful distance, admiring chord voicings and stereo placement while wondering whether I have accidentally wandered into the world's moodiest demonstration room. And it sounds so fucking good in there. That is the irritating part. I cannot dismiss OK Computer because the textures keep seducing me back into arguments I thought I had finished. Jonny Greenwood will scrape one disgusting sound across a gorgeous chord. Colin will move one bass note in a way that suddenly gives some floating passage a body. Selway will withhold a hit half a second longer than my nervous system expects. Yorke will stop sounding like the elected spokesman for Alienated Western Man and sing one tiny phrase like an actual frightened person. Then the album becomes immediate again, not prophetic, not canonical, not The Album That Predicted Our Digital Nightmare, just five musicians in 1996 and 1997 fucking around with rooms, tape, samplers, guitars, computers and dread until they found a sound nobody quite knew what to call yet. I wish I could stay inside those seconds. Instead the monument keeps growing back around them. By the end, I am not crushed beneath modernity. I am mostly tired of hearing about modernity from a man with a very beautiful falsetto. Then that little bell goes ding, and I laugh, because after all the paranoia and traffic and computers and karma and unborn chickens and people being crushed like bugs, Radiohead end their masterpiece by basically telling everybody to stop driving like assholes. That part I can use.

OK Computer was fine. Atmospheric, anxious, and unmistakably ’90s—though I can’t tell if Radiohead invented this sound or I’ve just heard too many bands copy it since.

Dare I say that Radiohead is slightly overrated? OK Computer has some marvelous moments. The big songs endure. “Fitter Happier” is awesome. But songs like “Electioneering” and “Lucky” are nothing special, to my ears.

If it wasn't for Airbag, No Surprises and maybe Karma Police, this would get a lower score. Too whiny, not enough experimental.

Interesting, couldn’t focus but liked what I heard

You know, the dude's voice is tough. Otherwise cool.

Some big songs on here but I just find it a bit boring otherwise sorry

О, я чекав цього моменту. :) Коротше з Radiohead в мене так і не зростеться. Все псує Том Йорк, бо музика дуже класна, але його подача для мене не стерпна.

There were more moments on this record that I enjoyed compared to other Radiohead records. I enjoy Karma Police and Paranoid Android. However the rest of it for the most part is the Radiohead sounds that I am just not a huge fan of.

Great acoustic electronica rock

I know I’m in the minority, but I’ve tried to get on board the Radiohead train for many many years. I like music, I’ve listened to music all my life, but this style just isn’t it for me, however I’m happy to rate it down the middle because I realise the cultural impact, and recognise how critically acclaimed it is.

some very good songs on this album and the rest is ok. 3.5

all I can think about is that computer meme on tiktok. not really my thing, but obviously good!

So this is always in the top ten of all time albums. Where Radiohead went from alternative to prog/electronica. I like it but The Bends was a huge album for me more than this one.

I was prepared to not enjoy this as I have found some Radiohead a bit dreary. True some of the vocal runs still feel a little whiny to my ears BUT I liked the album and the tracks not commercially released had a lot of complexity and depth of sound I didn’t expect. A welcome surprise.

Rock, 1997 -> 3

An interestingblisten but fairly boring.

Classic banger, bit too depressing for Monday morning.

Not bad, ok

3,5 I assume. A lot of songs could be consider classic” today I’d say. A lot are stolen for TikTok sounds as well. Didn’t grasp me that much tho

Amazing

Sleigh bells? Really slow. Makes me sad. I like to be happy. Would probably be really good live.

3.5, I think this album has high highs but I really don't care about half of it either. I think Thom Yorke's voice grinds my gears sometimes when he dtm. Chill out bro I'm trying to be sad rn and you're killing the vibe

Maybe im just a hater but besides the two stand out tracks (karma police and no surprises) not much grabbed my attention, that being said the 2 songs i did enjoy were amazing and definitely deserving of their popularity.

3.5

It’s a nice melodic album without exciting me. In Rainbows is much more up my street

i feel bad because alex loves this album but radiohead are one of those artists i can only really enjoy for about the length of a song, so this did feel a bit of a drag - i can appreciate it though, just not fully enjoy it. Exit Music (For A Film) is a banger of course, and there are other highlights but it mostly doesn't do it for me.

Listened to the first half of this in a post-World Cup ketamine inflicted stupor, which, as it turns out, is absolutely the correct way to listen to this album as I enjoyed it quite a lot less on the second listen. Found some of the songs pretty tedious but some good ones too. 'Exit Music', 'Electioneering' and 'No Surprises' were the highlights for me.

Looking forward to this, first proper foray into Radiohead. Let's see, what do we have here. A few strong tracks (enjoyed the one from probably the best episode of black mirror) but a fair amount of filler too. I imagine one that would improve on repeated listens.

Airbag - 3 Paranoid android - 5 Subterranean homesick alien - 3 Exit music (for a film) - 4 Let down - 3 Karma police - 5 Fitter happier - 2 Electioneering - 3 Climbing up the walls - 3 No surprises - 3 Lucky - 3 The tourist - 3

I remember liking this album more the first couple of times I heard it. This time around was a bit too bloated and overdone. I liked Kid A more.

Ik heb dit album door mijn leven al best een aantal keer geluisterd, omdat dit een van de beste albums ooit zou moeten zijn. En ik realiseer me echt wel dat dit album kwalitatief heel goed is. Maar het mag ook wel een beetje leuk zijn toch. Ben geen Radiohead hater, helemaal niet. Luister best wel wat muziek van ze, maar dit album is het niet helemaal voor mij. We kunnen het ook houden op de conclusie dat mijn muzieksmaak misschien niet ver genoeg ontwikkeld is dus ik zal over een half jaar nog een poging wagen.

It's fine

I’m a little nervous about this one since I don’t love Radiohead but it seems to be a good/critically acclaimed album so I’ll give it a try I think Karma Police is saving this album a little Album went by pretty fast tho

It was ok

Ok album except for exit music (for a film) and karma police that are good

too sad and melancholic

Thom Yorke is the emotional center, but the real triumph is collective. The band sound less like five players and more like one nervous system. The Edge-style guitar prettiness of lesser ’90s alt-rock is nowhere near enough here; Jonny Greenwood’s parts bite, hover, and destabilize. The rhythm section never shows off, but it constantly keeps the album from floating away into art-rock abstraction.

OK Computer is one of those extremely popular, successful, influential albums that I've never gotten around to listening to until today. And it's...fine? The production is remarkable, with deeply layered synths and other instruments producing a cold and sterile collage underlying the meandering, sinister, and cryptic lyrics. But the whole thing kind of leaves me cold; I recognize the skill, but I must be from the wrong generation to truly appreciate it.

For every “Paranoid Android” on the album there is an “Exit music” 3 great songs and the rest are meh . Surprisingly Tom Yorke’s voice is no more fun to listen to than that speak and spell fake Robot one 2 stars feels bad for an album with 3 great songs on so it’s 3

7.5/10 its good but a lil too sad for me

One of the better Radiohead albums. Several very popular songs and I would consider this the iconic Radiohead sound. I have seen the reviews and I know people doing this list do not like Radiohead, but I have no problem with the voice or lyrics. It's great background noise to working and is less controversial than some other politically motivated albums. I think it's pretty good, 7/10.

Tricky one to rate really. I thought I knew it better than I actually did as I grew up surrounded by Radiohead fans, they just never resonated with me. Which is a shame and I genuinely feel that I have missed out on something - I can imagine my younger self enjoying this album a lot more than my current self does. There are some brilliant songs on here but just not an album I would listen to again and I feel it does sound dated. Electioneering is awful, Climbing Up Walls not much better and Lucky and The Tourist are just a bit meh.

It's okay. I just can't get into their style.

música rebajada para 60¥s edgy

Karma Police... mas nada além me chamou a atenção

Ryan used to listen to Paranoid Android every night as a teenager. He says: > the buildup to the ending and the guitar solo is :chefskiss: Good album; chill with some electronic warpy aspects. Overally, pretty chill.

This is the first time I think I would add half points to a rating. I know Radiohead is a big deal and I think I like this, it's chill, but also I don't like it? So 3.5, for the first time ever, because I am torn.

I liked a few on here but I am not sure if I'm sold on this album. For one, the minor melodies make me feel sad after listening and I am just not interested in being sad while listening to music.

Call me and troglodyte if you must but I just don't get radiohead's appeal

Some surprises here: I liked this album more than I remembered. This era Radiohead is bleak and atonal in a lot of areas but while this isn’t as good as album as ‘The Bends,’ ‘OK Computer’ definitely bests ‘Hail to the Thief.’ Top tracks: “No Surprises,” “Karma Police,” “Paranoid Android”

Whiny but some hits

I really want to like Radiohead but I just find it a bit too slow and alternative for me.

*sigh* Karma Police had me in a chokehold in college (yes I was very deep). So I was excited about this one, but I think I am not very deep anymore. Boring! Karma Police still slaps though.

*1997. *I've never been into Radiohead, so I really tried to be open-minded about this. Honestly I think it'll take a few more listens to appreciate it. *Two big ones on here - Karma Police and then Paranoid Android (the name of which I knew, but I've never listened to it - although even after listening to it 3 times today, I still don't remember it, but I know I liked it more than most of the other songs despite it being 6.5 minutes long...). *This sounds like a lot of early 2000s indie, so I assume everyone copied off of Radiohead. *I really don't care for Thom Yorke's voice. *There were interesting moments on here and I kinda see the appeal at times. *I don't find their songs memorable at all. In fact, I just revisited my listening history on here to remind myself which Radiohead album I had previously had. Welp, turns out this is my 4th Radiohead album in my 1001 albums journey, and I very much did not remember that... *If it was a no name band, I'd probably get it a 6.5 and be done with it. But since it's Radiohead and this is a 'classic', I'll bump them up to 7 and pinky promise to give it a few more listens to see what I'm missing. RATING - 7/10

I gotta say, In Rainbows was way more enjoyable.

Rv

neat

Very good very nice

Yeah, I had never listened to anything but paranoid Android before, and I think that it is one of the more mid tracks

Appreciate the vibe, Subterranean Homesick Alien is weird but a little pleasing. Electioneering is a welcome break tempo wise from the endless down tempo. I get the anti-establishment anti capitalist message but it can drag on a bit. No Surprises is a victim of its ubiquity and I can't take it seriously. Not my thing and if I don't wanna listen to it again can't be higher than 3.

acho que preciso ouvir mais vezes para dar uma opinião

Buen álbum. Me gustó más que el otro que escuché. Había un par que ya conocía. El álbum busca generar una atmósfera melancólica, medio flotante; es introspectivo pero más emocional. Overall, está bueno.

Esta bien, pero no es el mejor album de todos los tiempos cabrones

Good album for a rainy Monday morning. It’s kind of depressing music. It was not that enjoyable.

Quite dramatic overall

The next Radiohead album, and it sounds just like the others. Not bad, but why bother listening to them all? The formula is always the same: the tempo is always slightly slower than the song could handle (except for the frenetic “Electioneering”), all the instruments are mixed with a bit too much emphasis on the midrange, plus a technically proficient but sonically rather mediocre voice, and of course songs that don’t really stick in your head—“OK Computer” contains all the hallmarks of ’90s alternative rock. But I don’t need this sound—which always seems to aim for a slightly suboptimal and unprofessional vibe—all the time. Radiohead stand out from the crowd thanks to their more or less successful sonic experiments, but even these naturally wear thin over time if you don’t constantly come up with something new. Since Radiohead don’t manage to do that in any substantial way, they’re one of those bands for me that just got worse and worse over time. Unfortunately, there are still quite a few later works on the list—let’s hope I’ve been wrong in my assessment so far.

I am not a fan of this particular type of melancholy music, vocalist singing is so bleak on most tracks, feels like wasted potential when looking at certain tracks

Ihan kelpo musiikkia, mutta bängerit puuttuu.

Just OK.

Decent but gets tiring after a bit

Hadn’t listened before. Interesting stuff. It’s not something for the background, you have to pay attention.

When this first came out, I couldn't stop playing it. And just when I was starting to get bored with it, Kid A blew me away. Over the years, OK Computer has lost its original impact and appeal. Now, I just hum along whenever I hear a track from it but returning to a full listen, it didn't do much for me. Still worth a 3.

Very 90s, nostalgic. I need to be in a certain mood to listen to this.

I kinda ripped on Radiohead in my review for Hail to the Thief, the only other album I have gotten of theirs (so far). I went back to re-read it before writing this one, and feel like it may have been too negative. Not saying I have become a Radiohead fan now, but I do think this is a much better album than that one even with some of the general criticisms I have of the band. The best thing about this, to me, is that it really feels like a coherent album. Not in the sense of a concept album, necessarily, but in how it all fits together and works when you listen to it as a whole. It feels like it's meant to be listened to that way, and it makes each track better than it might be otherwise. As an example, I never really cared for Karma Police. But, hearing it in context, I actually enjoyed it. Of course, many of my issues with Radiohead persist on OK Computer. They sound super whiny, even if they were less annoying to me here. The album is, once again, too long for what's on it. The melancholy, dreary feeling that they go for gets old after a while. At least they did have some more intense moments to break it up. All told, I am surprised by how much I enjoyed this album despite my expectations going into it. It has some really solid moments and is a compelling listen. Importantly, it stayed interesting. There are still issues, but they don't ruin it at all. I may even listen to this one again at some point. I'd say it's a solidly good album. Overall: 3.5/5

Never been the biggest fan of this album, upon relisten I have the same thoughts. I can appreciate it's a brilliant album, but personally I am not a fan

Un trance musical

Much more rock and much less depressing than I was expecting. Very good! As we all knew it WOULD BE.

I generally find Radiohead to be a bit dirgey - but the songs in this one are actually slight more upbeat than some of the others.

Great album that I've had a lot of experience with and have known for many years. I've kinda put Radiohead in the corner over the past couple years for personal reasons, but this album, musically, is undeniable.

High3

Thom Yorke's voice can become pretty grating after 7 or 8 songs. But I get the greatness of this album.

The awaited Radiohead breakthrough shall remain awaited. Give me 200 more albums from the generator and I think we'll get there. In the meantime: Radiohead, have you met my good friend Neil Young?

A land of contrasts, walls of sound but each brick of the wall is carefully placed, dark lyrics surrounded by twinkling instrumentals. Sure it's whiny in spots and more than a little melancholy, but it's creative and a decent listen

It's fine but don't really get into it. Expected more from radiohead. Rounding up to make it 3 stars

i have a hard time rating this album. i am not a radiohead fan, but i've listened to this album quite a lot considering. that said i dont actually like it that much. a handful of songs are very good; paranoid android, karma police, no surprises. NOT just bc they're popular no surprises was the only radiohead song i liked for a long time before it became That. but a lot of the other songs are just not that good imo or at least aren't to my music preferences. the songs are heightened by listening to them in the context of the album, but overall i think it's an album i listened to a lot for a month a few years ago that i probably won't go back to. 3.5 stars.

It was alright. I wanted to like it, since it was a little ethereal and spacey, but it was just so garbled together. I just don’t like Radiohead that much.

Loved karma police and no surprises. Appreciated that paranoid android was something special, but the thick layering of the instrumentals made the message difficult for me to parse.

evaluate later it's Radiohead

I did it. I finally completed Radiohead. Thank god. Thom Yorke sings like how I imagine a dog would sing when it's raining too much to be taken for a walk. Except the dog is a middle class art school student.

Am I crazy or is OK Computer actually kind of overrated? Airbag and Karma Police are both great, No Surprises is good too

Some good tracks but overall too whiny for me

Good vibes, but wasn't the sound I go out of my way to listen to.

I liked it more than I thought I would but I still don’t understand the reverence that Radiohead is given

Didn't like the first song. Liked the third song quite a bit. Don't love the singer's voice, but find parts of every song unexpected and interesting. This is not an album I would listen to repeatedly. Liked Let Down.

Goofy kill myself music

Kann man hören. Hatte zeitweise etwas beruhigendes. Aber nicht so wirklich meine Art von Musik.

Geile Instrumentals aber ich kann mit seiner Stimme einfach nichts Anfangen. Bestimmt is der Kontrast zwischen härteren Instrumentals und softer Stimme für viele auch genau das geile. Für mich nur leider nicht. Einstieg von Electioneering hat mir glaub am besten gefallen und die Instrumentals sind durchweg sehr gut. Stimme für mich dann im Vergleich einfach nicht quirky genug.

I liked this a lot more than I expected. It still isn't really for me but I really dug Paranoid Android and all of its weirdness. What I appreciate most about Radiohead is how much influence they had on Muse who I like much better.

Definitely an album among the most overrated. Thom Yorke's voice is genuinely obnoxious and their instrumentals mostly go nowhere. I say mostly only because of Climbing Up the Walls and Electioneering, which alone bring this album up to a 6/10

One of the most overrated albums of all time. The only reason it’s considered great is because it came out at time when most pop music was trash boy bands. Really only two good songs on here and the rest are whiny British trash.

Karma Police

Not a huge fan. I can manage an average score with this one.

The song got progressively better in the album, and I loved to realize that I was listening to some of the soundtracks used in the movie “Children of Men”.

Marginally better than the last radiohead album we had, but it still doesn't get me excited. I like half the songs and no surprises in particular

Despite this only being my 54th album so far, this is the third Radiohead album I've gotten. The only song I already know from OK Computer is No Surprises, but I feel like I have a pretty good idea of what to expect from it. • Paranoid Android starts off a bit slower, but I like how it kicks in just before the 3 minute mark. • The choir synth in Exit Music reminds me a lot of one of the sounds in Metroid Zero Mission's soundtrack • I hated Fitter Happier, there's something about this exact type of text to speech that creeps me out really bad • No Surprises has never really left much of an impact on me. I can recognise that it hits its emotional beats well, but I've never sought the song out to listen to it. However, in the context of the rest of this album, it feels like a clear step above everything else I've listened to so far. I'm slightly surprised to say, this album didn't really do it for me. As I said, this is the third Radiohead album I've listened to so far, and I think I preferred both of the others to this one. There were a handful of songs (Paranoid Android, Karma Police and No Surprises) that had their merits, but the rest of the album didn't feel like it lived up to that level. Also, the more Radiohead I listen to, the more I realise that they're not my cup of tea. They're by no means bad, and I see why people like them so much, but I don't think I'll ever go out of my way to listen to Radiohead. Favourite song: No Surprises

AK

Love the atmosphere of Radiohead, it’s a vibe band, I tend to have trouble parsing the lyrics. However Thom Yorke has incredible vocal control

Dont see the hype around this.

Easy 4-5 stars if they had anyone with half decent vocals

Airbag: 6/10 Paranoid Android: 8/10 Subterranean Homesick Alien: 5/10 Exit Music (For A Film): 7.5/10 Let Down: 6/10 Karma Police: 6/10 Fitter Happier: 4/10 Electioneering: 4/10 Climbing Up The Walls: 5/10 No Surprises: 5/10 Lucky: 5.7/10 The Tourist: 5/10

At last, the most beloved album on the website. Strangely enough, it's not doing much for me It was kinda OK...