OK Computer

Great album. Karma Police probably my favorite of their songs

Still not my favorite Radiohead album (although I know why it is for many), but an easy 5, full undisputed masterpiece status. Certainly experimental in parts, but retains the full-rock-band sound and more traditional song structures that bridge between The Bends and Kid A. Some heartbreakingly beautiful moments - Let Down is one of the most beautiful and best songs Radiohead ever wrote for my money, and juxtaposes lovely melodies and instrumentation with the lyrics about feeling unsettled and the uneasy way the arpeggiated guitars in 5/8 weave and float around the 4/4 beat. No bad songs here - even Fittier Happier has its place in what the album is trying to convey. Many other standout moments (Karma Police even has hooks??!), just a fabulous album from start to finish.

3.4

My favorite Radiohead album, so that’s a 5 for me!

Nothing needs to be said it’s perfect

This album was very important for my music listening journey. Discovering new music through RYM makes you listen to a lot of Radiohead very early on and I was very impressed with the way this album builds it's soundscape. It's so rich, the guitars have this tension but also feel layered, as if they were 3d. Obviously the guitar tones are incredible but that's a given with Radiohead. But yeah, the songs sound larger than life, while also being futuristic anthems about how the rise of technology affects humanity. They explore it even more, and arguably better, on Kid A, but I prefer this album sonically as it's just filled with so many amazing sounding songs. Straight from the first song, you get transported into the world of the album, which sounds exactly like the cover looks: cold, disorienting, weirdly futuristic. Paranoid Android takes it a few steps further, with these amazing progressions, complex guitar passages and insane riffs that encapsulate the feeling of, well... paranoia. It's no joke one of the best guitar sounds on any album ever. Then Subterranean Homesick Alien takes things in a more spacey direction, the atmosphere of that song is so thick you could cut it with a knife, but still eerily beautiful and entrancing. Exit Music is a beautiful, more stripped back ballad that gets backed by these ghostly synths in the 2nd half, absolutely haunting, and the crescendo of the song is so eargasmic. Let Down sounds a bit more upbeat, the guitars have a bright, uplifting feel, ironic considering how dark the song is in subject. No Surprises has a similar tone, it's a song about suicide, but the feeling it invokes is acceptance. As if it's unavoidable, just hanging there, about to happen. Karma Police is a massively catchy tune, with a super dreamy chord progression that elevated the song and sounds really amazing. Up until that point the album is almost perfect, but Electioneering and Climbing Up the Walls unfortunately break that for me. While neither song is bad, they stand out from all the other ones. Electioneering just doesn't fit the vibe of the album at all, while also having probably the least interesting chord progression and main melody on the whole album. Climbing Up the Walls is instrumentally heavy and overbearing, but I find Thom's lead vocals to be too muffled. The ending of the song also feels very overpowering, but doesn't resonate with me as much as some of the other climaxes mf the record. Luckily, the last 2 songs make up for a beautiful finish. They feel almost like they're drifting away into eternity. Lucky has a very meditative feel to it, but as soon as those walls of guitars in the chorus hit, you feel like your soul is leaving your body. The Tourist is a fitting and beautiful closer, feels like smoking a cigarette while watching the world fade away in front of your eyes. I love the sung lines of "Slow Down'" making the listener reflect over the constantly changing and declining world. I really love the way this record uses these beautiful soundscapes and compositions to form this narrative about the threat of technology and consumptionism dividing people. Seems very fitting and heart-felt, especially with how overbearingly sad many moments here are. Together with Kid A Radiohead have formed a strong reflection on the world that sadly gets more and more accurate each year.

я понял какую музыку не люблю

Clasico

Not as incredible as The Bends, but still pretty good. They start getting into the repetitive droning, but don’t make it the whole album. Very well-produced with a nice variety of styles.

It's been over year since I got my last Radiohead album (Hail To the Thief) and I didn't particularly like it. OK Computer has a lot of the tracks I like when I think about Radiohead, so it has to be better, right? It is. A LOT better. With the exception of a track or two in the middle, it's perfect. I think this may end up with Nevermind as one of my favorite 90s albums.

Alright, this is the last Radiohead album on my journey. Moving away from the guitar-centric, lyrically introspective style of The Bends, the band self-produced their next album and took a more exploratory approach with their songcraft. Drawing from several influences like Miles Davis's Bitches Brew, the Beach Boys' Pet Sounds, film composer Ennio Morricone, and krautrock band Can, they sought to make something more atmospheric, abstract, and beautiful in its deconstruction. The resulting album would be known as OK Computer. Okay, let me get this out of the way - yes, this album is overhyped as hell. I will praise it soon, but even I don't feel comfortable calling this the best album ever made. Given how much I enjoyed the other Radiohead records included in the 1001 Albums books, I'm not sure if this is the absolute peak of their discography. But I will say that this is one damn fine hour for them. The general vibe I would use to describe this record would be "grandiose". The songs on here boast rich, dense layers of the band's spacious alternative rock coupled with electronic experimentation, loaded with such detail and nuance. The sampled drum track paired with the stop-and-go bass and reverberating guitar line on "Airbag"; the multi-part rhapsody of Paranoid Android" with its shifting tempos and quiet-loud-quiet dynamics; the eerie keyboards floating in the background on "Subterranean Homesick Alien"; the crescendo of "Exit Music (For a Film)" that builds with the Mellotron humming to evoke a choral effect until the song reaches the climax with that fuzzed-out bass; the twinkling arpeggiated guitars and electric piano meant to emulate the Wall of Sound recording technque on "Let Down"; the gentle acoustic sway that transitions to an orchestral arrangement on "Karma Police"; the heavily distorted guitar and driving cowbell on "Electioneering"; the metallic percussion with the warbling synth and atonal strings on "Climbing Up the Walls", before falsly comforting with the glockenspiel melody of "No Surprises"; that strange high-pitched noise from strumming on a guitar nut hovering behind the mix on "Lucky"; ending on the gorgeously atmospheric waltz of "The Tourist". It's an album that feels purposely constructed to be heard from front to back, largely tied together by the band's strikingly well-done instrumentation and Thom Yorke's haunting, frail vocal delivery. You may have noticed a track I skipped over, and that would be the short musique concrète piece, "Fitter Happier". It's a collage of vocal and instrumental samples over a simple piano motif that Thom Yorke came up with while inebriated. There is a main voice narrating through this piece, albeit not human; it is a synthesized voice from the Apple Macintosh SimpleText application called "Fred", and it recited a spoken-word list of slogans and words that Thom gathered during his writer's block. It's admittedly chilling, even more so on a deeper reading, where the album's conceit becomes apparent: how easily we, as humans, can lose our agency and emotional stability as society and technology continue to advance. I wouldn't call OK Computer a concept album, but a continuity runs through these tracks. The recount of a car accident on "Airbag", the violent tendencies observed during an encounter at a bar on "Paranoid Android", the feelings of isolation seeping in on "Subterranean Homesick Alien", the stark narrative strokes taken from Shakespeare's Romeo & Juliet on "Exit Music (For a Film)", the rather effective description of depression on "Let Down", the stress and projected perceptions stemming from an inside joke within the band on "Karma Police", the political unrest rampant on "Electioneering", the fervent paranoia noted from Thom's time as an orderly in a mental hospital on "Climbing Up the Walls", the helpless predicament of someone who can't keep it together on "No Surprises". All these tracks highlight how precarious and fleeting our lives can be amidst the chaos of an ever-changing world. The emotional weight really hits its hardest on the penultimate track "Lucky", capturing the sombre terror of the Bosnian War within the context of an airplane crash. Only with "The Tourist" do we get that emotional release, slowing down to enjoy life, because we only have that one life to live, not get swept up in the chaos. Even if I recognize that this album is overhyped, OK Computer is still a phenomenal record. It signifies a band not content to stay in one lane, but to continue pushing their musical boundaries. Of course, Radiohead would end up changing their sound yet again, given how influential this album was to a new generation of British alternative rock bands. That's just how this band rolls.

They stole lil ugly manes flow

Hermoso disco

Musically, this is about as perfect of a soundscape as I’ve heard. Just brilliant production and instrumentation. Deserves all the hype it gets. It builds tension in such unique and intense ways. I’m still not a massive fan of the vocals or songwriting as a unit. They don’t do it for me as much as other albums that are in the same “greatest of all time” category of albums. Either a very high 4 or low 5 for me.

buenisimo

Amazing album, there is no single bad or boring song on it (ignoring Fitter Happier). My personal favourites at the moment are Subterranean Homesick Alien and Lucky.

OK Computer is just wonderful. This is actually my second time coming back to the album, and it’s just as good as I remembered. A lot of these tracks still give me the same goosebumps they did the first time around. This really feels like Radiohead getting into their groove and starting to expand their sound in a big way. I love the atmosphere throughout the album and how much variety there is. You’ve got rock songs, softer tracks, and then these strange, atmospheric moments that almost make you feel like you’re floating somewhere else entirely. Exit Music (For a Film) is probably the best example of that for me. That song just feels like stepping into another dimension. My only real issue is that I think the first half is noticeably stronger than the second. No Surprises is obviously fantastic, but outside of that, the later stretch doesn’t hit quite as consistently for me. If the album were maybe three tracks shorter, I honestly think it could be pretty much perfect. Still, this is an incredible album and an easy 4.5 out of 5 for me—which, for this website, rounds up to a 5.

my second favorite Radiohead album after the goat in rainbows. This is incredible too for sure, I mean it’s got paranoid android, exit music, let down, and no surprises on the same album so that’s pretty good

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

Already know it, though it was a better listen the second time. I don't LOVE his singing though

I just fell into a doze or a reverie while thinking about what to write for my review of Radiohead’s OK Computer and what I dreamed I wrote was “If these guys had butts they’d rule the world.” I stand by that.

Love some Radiohead, not quite psychedelic enough for my taste though.

holy three-tracks-run

5 STAR 5 STAR 5 STAR

Great atmosphere. Love the guitars and the electronic details. Quite gloomy but good album.

Liked it

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.

Not for me

It's sad and mumbly but yeah it's great

Couple big hits but bit meh overall tbf

ok yeah it's still all bangers. What's left to say about this album tbh.

Good album I like how it had a consistent sort of vibe to it and it was good, not very storylike but good social commentary

very morbid

Very good Computer

Not heard before, but sounded pretty good. I reckon these lads have a bright future ahead

One of the easiest 5's.

Computer says yes

Almost can’t imagine hearing this in context for the first time when it came out. Would have blown my mind. Still does

#95 - Radiohead - OK Computer ⭐️ I have been dreading the day that this album (or one of its cousins) would rear its head on my phone screen. Alas, that day has come. I guess I will just accept getting downvoted into oblivion, since I really have no other choice. I don’t like this album at all. I’ve listened to it in the past based solely on its online reputation, which precedes it mightily. I don’t like how noisy it is. I don’t like how the instruments sound out of sync. I don’t like the songs. I do not like it, Sam I Am! I believe that people are being sincere when they rate this album highly on RYM and on their Topsters, etc. I think that it’s very well liked. I just don’t get it, and I suspect that I probably never will. Sorry.

Luoja auttakoon heitä jotka eivät osaa arvostaa. Vähä jotku pink floyd/bowie vibat tulee tästä rajusti experimental musiikista. Iso haista vittu oasikselle ja muulle vastaavalle tuon aikakauden hallitsevalle brittipopille.

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

This album dropped in very compelling way way back when. For example, I snagged a disk, smoked a fatty and hit a park where I played it on my headphones from my discman, feeling like I was hearing the most incredible album ever made. It is still damn good, but not THAT good.

This album has served as a barrier to entry to Radiohead for me. I just did not understand the hysteria over the record at the time, but granted I was a child. Fast forward a few years and several of my close friends were big fans. They’d put this album on at parties, and the energy would drop. “Not Deathhead!” I would say. “Turn it off! Put on Nofx!” Granted, I was still a child. I remember bitterly hating the music video for Karma Police. I once got pushed into a bush for singing along to No Surprises like a wailing cat. I deserved that. The only partial credit I gave Radiohead was for being on the greatest skateboarding video, and perhaps still my favourite piece of media: PJ Ladd’s Wonderful Horrible Life. I’m no longer a child. I was even rather excited when this album popped up. I saw it was a way to right a few wrongs of the past. After a few weeks of listening on and off, I think my project partner nailed it with his description: it’s good, but it’s not that good. As an aside, it was Kid A that broke down the Radiohead barrier. I have made my peace with the band.

This is an album I physically own and bought on a disc back in the day. It's still one of my favorites. Radiohead truly has a major inroad to the clinically depressed's hearts. Some truly incredible songs on this one. And one of my favorite songs of all time No Surprises. I know people like to rag on them for a litany of reasons, but they really managed to capture something truly unique and special. If ever there was an album to listen to in an increasingly depressing and dystopic world, this is it. And they had the foresight in 1997. It's bleak, but damn is it beautiful.

Some thoughts on this album: - It simply feels *grand*. Each track is near monumental on its own, but taken together it creates something of a monolith. It truly is almost dizzying to think about, as hyperbolic as that may sound. - If this list had been "10 albums to hear before you die", this album would still doubtlessly have made the list. Moreover, if it had been "5 *rock* albums to hear before you die", it would still absolutely have been present. - It's really quite boring to have this be your favourite album of all time; not because of any lack of quality, of course, but in fact because its excellence is just so blindingly obvious. - Whenever I enter a new phase of my life, I seem to rediscover OK Computer. I fell in love with it as an angsty teenager (whose mind was right about to be blown to smithereens by Kid A); then in my college years, when I began to realise the true brilliance of its technical aspects; and now as a fresh addition to the rat race of adult life, I find that nothing captures just how much the world is capable of beating you down and squeezing the last bits of childish wonder out your system. - In fact, there is truly nothing like this in general - not Muse, not Blur, not Interpol, certainly not Coldplay, and not even Radiohead themselves have made anything quite like this. - As if they weren't prolific enough with their mainline stuff, they have an entire 'album' of B-sides that never made the cut. This 'album' is better than the vast majority of albums on this list. Talent is unfairly distributed in the world.

Truly enjoyed this album, one I wish I had enjoyed sooner.

Ugh, another album from the most overrated band, get ready for some whiny vocals. There on some songs on here I don't mind like Let Down, well really just Let Down and maybe a smidgen of Karma Police. I feel like the only place I really appreciate a Radiohead song is in a movie soundtrack. There is definitely a moody feel to some of their songs. Unfortunately on it's own it just doesn't do it for me. What the hell is Fitter Happier? - such an annoying "song"! This album is definitely better than their later albums but the only albums I can really stomach are the two before it. Even then I would never choose to put on Radiohead and might actively work to get away from their music.

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

My take away is that “Ambition makes you look pretty ugly kicking, squealing, Gucci little piggy.” I love Radiohead. “Paranoid Android” is a great song title. “Exit Music” draws me in. I’ll try to get along better with my associate employee contemporaries. “Electioneering” is my favorite on the album. “Riot shields, voodoo economics” is on target. “Climbing up the Walls” is quite creepy but I like it.

aff é bom

Hated it the first time I heard it, gave away the CD on Ebay. Tried again, still hate it.

Classic album from RH.

9/10

Og angst.

A seminal piece

damn...

bom

Gear: Abyss DIANA MR Artwork: 🛣️👤✖️ Production (OKNOTOK 1997 2017): 🎧😘🤌 Music: 🏋️‍♂️😃📈 Rating: 💾💾💾💾💾/5

Nada mal un clasico de siempre

9.1

Damn, estamos con Radiohead. Este es un pez gordo en teoría, veremos... Escuché esto un viernes a la noche de depresión. It hits harder. A pesar de no ser muy fan de Radiohead, este me pareció un muy buen álbum con algunas de las canciones más deprimentes que escuché en mi vida

Amazing. One of the best

(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.

Overall: 10/10 Yeah, so this is kind of a masterpiece. I hate that I ever hated Radiohead as much as I did, I genuinely can't get anywhere near that mindset again when it comes to these guys. This album is genuine art and the members of the band should be so proud of themselves. Fav Song: No Surprises

OK

Was okay. Not my type of music but good background music. It was well made tho.

Just ok

This is one I own on vinyl and it is a classic record. It's not my favorite Radiohead but it was the first time I heard them.

Absolute perfection

I think this is the first time I really got the appeal of Radiohead.

i didn't realize i enjoyed Radiohead in general, but this was kinda nice. and No Surprises really just feels like a warm hug.

A masterpiece ❤️

Buen álbum

this is where it starts getting good

An incredible album that is way ahead of it's time.

Depressing, epic, a classic, this is so good. 86/100, 5 Stars.

Well, a lot has been said about OK Computer. Personally I used to be more into it than I'm now, but it's still a great album, somewhere between 3 & 4 depending on my mood. While some ideas on the album feel a bit dragged out, instrumentation and arrangements are pretty great. Colin Greenwoods bass parts especially are worth a mention in their tastefull sense of space, movement and musicality.

Cliche perhaps to say, but this record is a flat-out masterpiece. A "Dark Side of the Moon" for the 90s. Astounding.

Slaps heavy. Directly influenced music for Darren Korb, a favorite Video Game Soundtrack Artist, and I can totally see why!

dreamy

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 ...

So boring. He sounds like he's choking, please someone help him.

unfortunately it is 5/5

Before listening to this album the only radio head I know is creep and karma police, so I am expecting it to be a more sad album. I like the cover with the blurriness it gives me the same vibe I expect from a radio head album. This lowkey boring so far feel like this music for lames with no girls. incel music

- exceptional

Easiest 5 of all time, changed the game

Me gusta mucho la portada del álbum. Le tenía mucha fe a Radiohead, me encanta la banda. Acá adentro hay TEMONES como let down y no surprises.

devastating

Still great.

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.

Te amo radiohead

평소에 자주 듣던 노래도 몇 곡 있었고, 전체적인 분위기가 좋았다. There were a few songs I often listen to, and the overall atmosphere was great.

Good stuff is good.

Il est difficile de voir où vont les chansons mais c’est toujours une bonne surprise Toutes les chansons sont très bien et certains sont carrément exceptionnelles : paranoid android, karma police, exit music, climbing up the walls Même no surprises c’est bien en fait Même le skit Fitter Happier. Normalement j’aime pas les skits mais là il est tout à fait pertinent. Je suis sorti de Amnesiac en me demandant si c’était pas le meilleur album de Radiohead. Finalement après un rainbows j’étais sûr que c’était celui-ci. Et là bah… force est de constater que c’est l’album le plus parfait que je connaisse je crois ? The tourist est plus quelconque mais c’est bien pour finir 10/10

Great album, especially the last two songs. Very introspective altogether. Big departure from the britpop era when this album released. Very cool music.

Solid choice of songs 4/5

favorite(s): climbing up the walls, paranoid android

(6 estrellas)

Beautiful, magical, and hauntingly sad

Genuinely perfect. Thom Yorke and Radiohead can do no wrong. From the opening track you get immediately how well this album is laid out. Incredible instrumentation from every member to perfect fit the mood of whatever Thom is singing about. Thom sounds fucking incredible all throughout giving some of the best performances ever recorded. Radiohead nails the ability to make extremely depressing lyrics into songs that still keep their poignant meaning with the beautiful delivery while still making the music itself sound catchy and memorable and still keeping on theme with the melancholy found throughout. Airbag is quite an opening song, the drums really stand out for me here, but to follow that song up with the masterpiece that is Paranoid Android is mind blowing. The entire instrumental stands out with its multipart switches throughout. Just straight up one of the greatest things human beings have ever created. Other big hits continue to be relevant today though which really says a lot about their song writing. Exit Music, Let Down, Karma Police, No Surprises, as well as Lucky for me are all just massive highlights in the grander scheme of Radiohead's discography. There is literally not a single bad song here though beyond what I haven't already mentioned. Even my lesser played songs on here are still miles above some bands entire careers. Radiohead far and away deserves any and all glaze, just an innovative group of musicians that always pushed what music can sound like and in the process created some of the greatest music ever.

I listened to this album a few months ago and from what I can remember it is a generational listen. I can't casually listen to it, I tried today and I just felt like it deserved my full attention. This is a must listen, I have to relisten to it myself as I dont remember much. I need to go down the rabbithole on why this album was created but I am trying to finish this project. Must listen.

One of the best. Re-listen again and again. RYM: Y (#2) Saved a song: Y

When I was 7, I picked up a guitar for the first time. I kinda just thought it was a neat little instrument, but at the time I didn’t even know what it could really do. I kinda just played it by strumming the first three strings and patting the body. When I was 9, my father, one of my biggest sources for music throughout my life, decided it was time I heard Radiohead, and played me this album. I have not been the same since. Whether this album is the best of all time or Nick Drake’s Pink Moon, I can’t say. But this is the album that made me pick up guitar for real. That made me pick up music for real. It inspires me to this day. “Airbag” with its vocals, and guitar work, and its outro with the downtempo influence, is still one of the darkest and most dystopian-sounding songs I’ve ever heard. “Paranoid Android,” one of the best songs ever made and my favorite song for probably around 5 or 6 years straight before I heard underscores for the first time, I can still remember the way I was stumbling over my words trying to describe the song to myself and to my dad, and failing. It was the first time I had ever heard something so crazy, so undeniable. “Subterranean Homesick Alien” is another song that I’ve spent a lot of time with, with this idea of humanity’s obsession with artificiality being explored a lot in Radiohead’s canon, but none quite as heartwrenching as in this song, at least in my opinion. “Exit Music (For A Film),” a song I grew weary of from listening to it too much, has since blown me away again with its use of atmosphere and timbre. “Let Down,” one of the best songs about chronic depression there is, still astounds me to this day, such an absolutely beautiful, crushing song, and a standout on the album. “Karma Police” is a fan favorite, and it’s another one I initially grew weary of before coming back to it to it to appreciate the deeper impressiveness of this song, the vocals, the song’s apex. “Fitter Happier” is an interlude, but it’s the perfect atmosphere for this album: visions of a conformist surveillance state, and the way that modern society seems to lean toward that. It also perfectly transitions into the most overtly political song here, the jangly, rockabilly-ish “Electioneering,” which is a surprisingly radical song, considering how big of a band Radiohead would come to be. “Climbing Up The Walls” is one of the first songs I ever heard that was by definition “scary.” It’s still so cool to me to this day. I still know every lyric. Though I think I know every lyric to this whole album. Where “Let Down” was one of the best songs about chronic depression, “No Surprises” is one of the best songs about clinical depression. I’ve experienced both, and let me tell you: having heard a lot of songs longing for release, I’ve never heard a more despairing wail for death than the backing vocals of the last chorus of this song. It has every right to be as popular as it is, it is one of the saddest and most touching songs I’ve ever heard. “Lucky” is an obvious classic, an anthemic chorus, a memorable riff, and again, this imagery of disaster. “The Tourist” is where the album’s end becomes apparent: it is the album’s happiest song, telling you to “slow down,” meaning to just enjoy life, instead of being so wracked with anxiety. It’s the perfect way to end an album such as this one, with all its sadness and fear, to at the end of the day still enjoy life while you can. Beautiful. I relistened to this when reading 1984 by Orwell, because a lot of it feels similar, and I still can’t believe this is a real album. I relistened again when I visited London for the first time, with this album and underscores’ third album U defining my time there. This album has guided me through my whole life, and is one of my biggest inspirations ever, in life, in creativity, in philosophy. It is perfect in every single way. 10/10 DOES IT BELONG ON THE LIST: YES REASON: it’s literally perfect. This is like complete required listening. It’s the pinnacle of great music. It’s the masterpiece of all time. Come the fuck on.

5: I will happily play this album anytime 4: I may occasionally play this album of my own free will 3: I will happily listen to this if someone plays it in the background 2: I will tolerate this if it is playing in the background 1: I will leave the room if someone plays this in the background This is easily a top 10 album of all time for me.

Says a lot that an album this good is only my 3rd favourite Radiohead album. Bit of a lull between Karma Police and No Surprises, but it’s still a phenomenal UFO of an album.

Not my kind of music. But SO many streams. Some people clearly connect with this album. It does not have Creep, my favorite Radiohead song.

cold take but this is probably the best album on this list

This was once one of my favorite albums. I still think it’s very good but I can’t say I hold the same level of affection for it these days. It’s a very downbeat and moody album, and honestly these days it just sounds like it’s trying too hard to be sad. These songs are not unanimous winners, either. So I don’t think it’s this band’s best, but a song like Paranoid Android is such an achievement that this album obviously still deserves flowers.

Classic

Awesome

Way more than just OK.

odeio amar radiohead e amo odiar radiohead

This is the best Radiohead album I’ve heard Best production Best songs Best lyricism 4 or 4.5/5 Favorites: electioneering, let down, lucky, paranoid android, karma police

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.

This is one of the greatest records ever. When it comes about it shifted perceptions about what music can be about. I still remember listening to the first time and I still remember the looks on people faces when they listed to it for the first time . Revisiting this album I learned many anecdotes. I learned that “Exit Music (for a film)” was written for the exit credits of the movie Romeo and Juliet but they didn’t allow it to appear on the album soundtrack because they knew it is special. Also I is influenced by Johnny Cash and the bass by Portishead. Timeless beauty. I will never get tired of listening to this album.

Other than Fitter Happier, every track on this album is among the best that alternative rock has to offer in my opinion and the musical complexity of OK Computer is still unparalleled in my personal opinion.

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.

9.5 / 10

Standard 5

Easiest 5

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.

One of my All Time favourites

I mean, I don't really even love Radiohead, but this is such a genius record: spooky, distant, beautiful, jarring, with killer songs and trippy textures.

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.

На удивление кроме Karma Police и Paranoid Android меня мало что зацепило

I didn’t listen but like ya know

One of my favorite Radiohead albums. Paranoid Android, Exit Music, and Karma Police are top of my list.

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

OK Computer is a great album, but one of those from my teen years that I haven't gone back to much as an adult. Electioneering will be back in the rotation a while though. There's Radiohead I like a lot more.

First time with this LP. The quality is evident. It won’t enter my pantheon, but it seems to fit perfectly into it’s time.

Back in 1997 i was very fascinated by the song Paranoid Android and its video. Nowadays i still am. oh and the rest of the album is also quite good

4,7/5

I also think I prefer The Bends, but this is obviously great too. So much incredible songwriting and creative use of their instruments on here. I like how you can hear Radiohead starting to lean towards some more experimentation as well. I don't come back to this project as a whole very often, so revisiting it was highly welcomed! Favorites: Airbag, Exit Music (For A Film), Let Down, Karma Police, Fitter Happier, Climbing Up the Walls, No Surprises, The Tourist

The Bends may have my heart, and I may have overplayed this one in high school, but any album that has Let Down on it has to get five stars, that's just how it is.

do i really need to listen to this again

Back in the day I decided I was going to listen to Radiohead's albums in order. I didn't get far, because I just kept listening to OK Computer over and over again (and yes I know what came later). This is one of the most creative rock records in existence. So much inventive energy. I don't know if they were ahead of their time, outside of time, or whatever. I know that 29 years later, OK Computer still sounds absolutely amazing and relevant.

Good but very blue

10/10

No spot on words for this one. Titanic, majesty and sad.

Oh Thom Yorke, you unparalleled legend you. There’s a reason all 6 Radiohead albums are rated above average on this website. It’s a fairly obvious reason at that. They’re all really, really really really REALLY good. There’s also a reason that 48% of listeners give OK Computer in particular a 5 star review. Now, with this album, I got particularly lucky. This was my weekend album, so I got to spend 3 entire days with it. Going in, my favorite song was, in fact, “Lucky”. I’ve heard that song so many times that it was actually hard not calling it my favorite now due to recently falling in love with “Electioneering”. Now, I’m certainly no stranger to this album, I’ve heard songs like “Karma Police” and “Paranoid Android” 1000+ times each. Whenever I return to Radiohead, OK Computer and The Bends are my go-to’s. Some of the other, lesser played songs though, I don’t listen to on repeat quite as often. I will now though, as the deeper cut but not too deep since it’s on this album “Electioneering” is going to have to be my favorite today. Whether or not that’s recency bias speaking is difficult to say. Tomorrow my favorite song could be something else. In fact, it probably will be. And that’s the true brilliance of this album. I haven’t even mentioned “Exit Music (For A Film)” or “Let Down” yet. Damn, “No Surprises” as well. The more I think about it, I truly believe that any singular song on this entire album, besides “Fitter Happier”, could EASILY be someone’s favorite Radiohead song. That song is a borderline intermission. It has its place on the album but I think it would be a little weird having someone claim it as their favorite. You never know though. And speaking of the album, this goes beyond the scope of the actual review, but check out the album OK Computer OKNOTOK 1997 2017 if you get the chance. It includes a lot of songs that were cut from the original, and inclusions such as “Man of War” make me wonder how they got cut to begin with. I know I can’t include that one in this review, but it deserves to be mentioned. It’s technically still attached to the album, just not the main album. This is my 3rd of 6 Radiohead albums I’ve listened to for this project, following both “Amnesiac” and “Kid A”, also both getting a 5 from me, and easily at that. Now, I’m often a bit of a contrarian, and I like to see the good in things others people might not consider their favorites. But this album man. This album might be their magnum opus. It is an actual holy grail of music, and every single song is just so beautiful. So perfect. So undoubtedly deserving of a 5 star review, that it might just make the case for being one of my top 3 albums in the entire book. It’s truly just a special, spectacular album, and between it and The Bends, you’re going to have a very similar review. Thom Yorke. What a freaking guy.

kyl tää vaa toimittelee. Miten voikaa joku albumi mennä näin tunteisiin

How do you rate a Radiohead album? Idk but I like in rainbows over ok computer especially since it starts quicker and slows down.

Gave up midway through paranoid android. Might be one of the worst things I've heard in my life

Interesting, couldn’t focus but liked what I heard

Everything there is to say has already been said. It's brilliant

My god. It's full of stars.

Плотно Ожидал что будет лютое нытье Хотел бы ощутить первое впечатление от альбома, а то я получается половину уже где-то слушал, потому что альбом популярный Думаю, что альбом расширяет музыку и это хорошо Был скептически настроен, но работа и правда хорошая. За рок - класс 3.7

I am sitting here this evening (12/8/26) and the generator has 'decided' this is the soundtrack to accompany the ominous, otherworldly atmosphere of a solar eclipse. OK, computer, I can go with that It even sounds good when the sun returns

When I bought this I played on repeat, obvious favourites on here, but good to listen to the whole album again, all those years later, I did have a “Gucci little piggy” T Shirt that I wore that year too😂

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

i was introduced to this album by no surprises, and i think it completely ruined my perception of the album. now that i'm sitting down and giving it a proper listen, i can definitively say this rips. highlights: airbag paranoid android subterranean homesick alien let down karma police electioneering no surprises lucky the tourist

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

Listened previously. Expectations: High - Verdict: Great - Not my favourite Radiohead album but it is bloody good. The opening run of Airbag through to Exit Music is about as perfect as run as could exist. Maybe it's just how overplayed it has become in the last few years but Let Down must be one of my least favourite tracks by the band. I just find it very bland compared to the cold beauty and electric shocks that come before it. Karma Police is a more accessible track like Let Down but is much better. Parts of it sound a lot like Sexy Sadie but it's such a different vibe that just works. Fitter Happier is what it is but it fits perfectly. Electioneering rocks. No Surprises falls into the same category as Let Down for me. Lucky is fantastic and The Tourist closes things on a beautiful note.

Airbag Paranoid Android Subterranean Homesick Alien Exit Music (For a Film) Let Down Karma Police No Surprises

awesome. again

Is this the greatest album of all time? Maybe, definitely top 3 and definitely top of the 90s.

A partir de hoy es mi álbum favorito del año en que nací Me hace sentir triste, optimista, nostálgico, iracundo, pensativo todo en un solo viaje, es un álbum muy poderoso Sé que trae bastante crítica a la sociedad también, merecido lo tenemos la verdad Para mi es el 5 más claro que he puesto, porque no lo he terminado de explorar canción a canción pero ya evocó mucho en mi Solo conocía 2 canciones de todo el álbum, creo que hoy tuve el lujo de explorarlo completo Recomendadísimo, y volveré a el muchas veces más, espero no quemarlo

I do love this album, and of course I loved it as a teen!! When I discovered this CD at the back of my dad's car and was like waaait a minute let's get this on the old iPod! I think this is great, the right level of angry at the world and angry at computers - computers being "the man", but you know, literally anti computers too I think which is even more resonant now. Fitter / happier hit hard cos i was like whaaat's he doing there?? A text-to-speech, in those days! I think I shave off a star only because I've listened to this so much that it's almost memed itself to me and isn't my favourite Radiohead album, maybe a tad on the nose - THE COMPUTER NOSE!

Once again Thom Yorke and his friends doing enough musically to rise above the fact he's a massive bellend. Are Radiohead my ultimate problematic fave? No, that's Morrissey. But they're up there! This is in the category of classic for a reason, just about as interesting and forward-thinking as rock music can possibly get, literally no duds on the whole album. Also evokes very nice memories of being at Glastonbury 2012 and hearing David Bowie was doing a secret set but instead it was Radiohead and I was like 'ffs I'm front row for a secret Radiohead set this is bullshit' but then when they did Karma Police it was obviously really really amazing and I was like OK fair play these guys are going places.

well shit idk if i'm ready for a breakdown at work maybe it's not so bad, maybe i'm better now either way, masterpiece 💥paranoid android 💥exit music (for a film) 💥karma police 💥electioneering 💥no surprises 💥lucky

One of my favourite albums of all time.

It's an amazing album but it doesn't capture me like In Rainbows did. Definitely a lot of standouts on the album but it doesn't feel as consistent

There's actually no way this is random wtf. Banger. Okay. Guess this is how we're starting. Happy birthday to me I guess. Haha. Love you Radiohead. 1. Airbag - 8.5/10 Great opener. Sets the tone nicely. Not really one I go back to revisit outside the album, but always puts you in the right mood to listen to the rest of it. Some cool effects with the pedals? Curse these metal hands jumpscare (forgot to check queue lmao) 2. Paranoid Android - 10/10 Rocker. 1997 live performance still gives me chills. Man if that's the one thing I miss the most from twitter is all the live performances in my bookmarks lost to time. Again some really creative choices with the choir as well that I most definitely will never appreciate properly because this was one of the first albums I ever listened to seriously. I hope there isn't a word limit. Also I just realised this is a 10/10 song. Nothing I would change. Well done guys. 3. Subterranean Homesick Alien 9.5/10 - Actually underrated. Possibly the most Radiohead song Radiohead has ever Radioheaded. Honestly, there's just nothing I'd change. This album fucks man. 4. Exit Music (For A Film) 10/10 - I don't need to listen to know. Also Lucy went to see Baz Luhrmann Romeo & Juliet today (yesterday), so I guess that's a funny coincidence. Also used really well in Black Mirror. 5. Let Down 11/10 - I wish this wasn't as popular as it's getting at the moment, but deserved. Hits hard when you're rising and falling. Guitars are real pretty. Love thinking about train stations wistfully. Was very happy I got to hear this live on acoustic with Thom at Spark Arena. You know where you are when (You know who you are). One day I am gonna grow wings. \\8// 6. Karma Police 8/10 - First song I learnt when I went back playing with Dave. Probably don't have as great of an appreciation for this one as much, as there are no pretty or fuzzy guitars or effects pedals. Still tight as always. This album does not miss. 7. Fitter Happier 9/10 - People always rate this the lowest because it's not a song. But it's probably the most iconic part of the album tbh. I don't skip when listening to the whole thing. 8. Electioneering 9/10 - love the chains transition. Another good rocker. People also rate this one low, but kind of a necessary burst of anger. idc if it's not intellectual I like angsty music. III. MMM. FFF. 9. Climbing up the walls 9.5 - Technically probably the best song on the album. Don't know when I'd ever willingly listen to this (leisurely stroll, anyone?) Man does it build tone so well though. 10. No surprises 8.5/10 - Nice. Don't know why I don't connect with it as much but very nice. Such a pretty garden. 11. Lucky - 9.5/10 - This is the other song that makes you feel both moods depending on what your mood is. Thom also played this one in the encore. Euphoric chorus. It's gonna be a glorious day. Also I've gotta say I don't know another album where each note is placed so deliberately. It's somehow so clean, even though it shouldn't be. 12. The Tourist 9.5/10 - Slow one to end the album. I don't think I appreciate this one enough. This is probably the best I've listened to it, and is kind of unique. Kind of feels like that first night on antidepressants. Goes to show that music can be right time, right place, even when you listen to things a million times Final rating - 10/10. Honestly feels pretty harsh that the averages only come out to 9.33. I think this is a perfect album. The weakest songs would be the best songs on most other albums. Very rare that an entire album can be so good with no weak songs. But this one is really really good. I'm kinda glad this came first, as it motivates me to do the other 1000 of these. Still doubtful that this was random... This album still goes so hard. I almost wish the bar wasn't set so high so early on, but we know what we're in for. Let's go to 1001. I'm ready.

phenomenal

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.

I really enjoyed it. A cool rock album with many interesting sounds and a range of instruments. I had previously heard "Karma Police", and liked it. I think I like some other songs on the album better.

I just can’t handle the whiny ninety’s.

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

A fantastic Radiohead album. At the time, I was listening much more to straight hard rock, so this album felt like a departure in the wrong direction, despite always liking Paranoid Android. I have since come around to the shift and enjoy it even more than the early work.

Jaw dropping. A genre changing album when it was released. An era defining record ⭐️⭐️⭐️⭐️⭐️

Ahead of firing this up, I'll note that I come at Radiohead backwards - I dig Kid A and Amnesiac, and I know those represent a radical departure from the OK Computer era, so I'm curious what I'll find in here. --- Disjointed, preppy, divergent. A couple of acceptable cuts, but really quite mediocre otherwise.

Wheres creep

The sound of being in transit. All the anxieties of a world always connected but never finding connection. Chord changes weird enough for the prog kids, atmospheric and spacy for the synth nerds, moody and introspective for the indie kids on the fringe, and catchy enough for radio play. Not a single individual sound here is revolutionary, rather it is their recombination and immediacy that is a revelation. A terrifying thriller movie about the world you already inhabit. A momentary glimpse beyond the structures of this matrix, this stream of information endlessly flowing into your occipital and temporal lobes. With the clink of a bell it’s over. OK Computer, what’s up next?

Great album. Weird, but so good. Best listened as an album. 5 out of 5

674/1001 2026.08.06 😴😴🌗🌑🌑 Sobrevaloradísimos. Me aburren soberanamente....

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.

Radiohead – OK Computer (1997) On Day 223, I experienced a genuine art-rock masterpiece. The album spoke to me in two distinct ways. The first half—which I enjoyed the most—was more upbeat yet cutthroat, packed with deeply impactful lyrics and some of my absolute favorite tracks on the entire LP. "Subterranean Homesick Alien" spoke to me in a new way, especially its immersive ambient chorus production paired with its complementary lyrics. "Let Down" remains an outstanding, heavenly record that I can never get enough of, delivering a soaring, ascending choir-like feel and a chorus that is pure perfection. "Exit Music (For a Film)" fit seamlessly right after those two, while "Airbag," "Paranoid Android," and "Karma Police" rounded out a phenomenal opening stretch. The second half shifted into a quieter, more introspective, yet equally immersive vibe. While I preferred the first half overall, tracks like "Climbing Up The Walls" and "Lucky" stood out, with the absolute highlights being "No Surprises"—with its rewarding, lullaby-like feel—and "The Tourist," which served as a masterclass performance to close out the record. A deeply moving, flawless milestone. An undeniable 5/5.

It’s fucking ok computer

begrudgingly. begrudgingly.

This album marks the transition from the band being pretty good to emerging as one of the greatest of its era. There are some frankly skippable tracks on here but there are some definitive, must-hear tracks as well.

So much has been written about this album that I'm hesitant to say anything. I didn't appreciate what was going on with Radiohead until years after the albums came out. I can't explain why, other than my tastes were elsewhere at the time and Pablo Honey got me to dislike their stereotype of the elitist British oxford guys playing all sorts of fucking weird ways. I think I also had a strange dislike of "dudes who liked Radiohead". But of course years later I had my comeuppance and have later listened intently to their music and view it as truly transformative and technically gifted and at the same time beautiful. I've heard that OK Computer is a later generation's Dark Side of the Moon, and I agree mostly with that. Is there a song that is at the same time both stunningly beautiful and technically complicated as Let Down? For me that is the peak of the album and the rest of the songs build up and step gracefully down from that peak in order.

Five stars. "Airbag", "Subterranean Homesick Alien", "Let Down", "No surprises", and "The Tourist" are quite amazing.

[5/5] iconic alt art rock. i appreciate the interesting melodies, experimentation, the time signature changing a lot, the emotional power, and the chilling topics. his voice grew on me after a couple of listens. despite several listens however, i found myself taking away less from this than i had expected, but that only pushed this album down to 4.5. track notes: 1. drifting in and out of consciousness. fluttering instruments 2. transition from acoustic to flamenco to distortion to pressure cooker release valve 3. glitchy space noises tingle the brain like drinking too much 7up 4. chaotic build up into distortion city 5. this song defies its title! how dare! 6. done her dirty calling out that dictatorial trim. looping beat then i get hacked at the end. 7. surprise hawking moment (actually apple but this sounds better) 8. wakey wakey it’s time for an enchanting guitar! 9. spooky and traumatising lyrics got me checking where the nearest psych ward is 10. the boogieman is singing me a lullaby. is this how it all ends? 11. not really convincing me about how glorious this day might be tbh 12. me to my mind trying to do anything

I still remember walking into Musiplex on Portage Ave. in Winnipeg in 1997, listening to the first few tracks of this at the listening station and buying this CD. Hard to explain how magical this album was back then, especially the front half of the album. I'm writing this while on listen to Subterranean Homesick Alien... Absolute bliss. Added it to my all time favourite songs playlist.

obvious fuckig PEAK

Spooky Just sad really. This sounds like how hard candy tastes

pretty good but it is no ok computer

Masterpiece.

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

I don't revere Radiohead in the way most music critics do but this is a good record. Listened on earbuds the other day for the first time. I would try that again

Just really good stuff, and that one sad song i wouldn’t know the name of but could recognize anywhere is on here, so that’s cool.

I'm so happy this is on the list. I love this album. It was already one of my saves and I'm so glad it was suggested because I love listening to it

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.

얼터너티브의 꽃. 라디오헤드의 정체성같은 앨범 제목까지 멋있다 별 5개 드릴게요

Not the peak of music but really good

One of my top 5 albums of all time. Favourite track: Subterranean Homesick Alien

I don't care about Radiohead but would be on track to give this a 3 cause it's not bad. Points off for Zionism.

After listening to this all the time as a teenager it's been a while since I put it on and in the intervening years had somehow come to the conclusion that it's a classic, but probably a bit overrated. Boy was I wrong. Some time away reveals how full of ideas, brimming with feeling, dynamic, textured, energetic, and powerful this album really is. Guitars pushed in thrilling new directions, mopey showgaze fused with explosive alt-rock, a dissonant mix of anger and alienation, depression and disenchantment, angst and paranoia. It's overwrought, cathartic, introspective.

It's good! Sometimes I love Radio Head, sometimes I'm bored a few minutes in, it really depends on which album and how I'm feeling that day. The good ones on here are really good (Karma Police, No Surprises) and some of the stuff in between I start to tune out a little bit (especially early on with songs like Subterranean Homesick Alien-- although I DO like that song, it just loses my interest after a while.

cool album, i still don't love radiohead

The 21st century was born here in 1997

Ah, the generator saving the best till almost last. I can even remember buying this, I was so excited to hear it and I was not disappointed. And it sounds just as great today. Sublime

Now this is some good eats.

Much better than the other album

Not content with having killed off indie rock and grunge by out-miserying and out-guitaring them both on The Bends, Radiohead then made this seamless, astonishing transition to electronic music. The themes of alienation and paranoia seep through uncomfortably in both music and lyrics. Just brilliant, and a definitive album of its era that still sounds great and resonant today.

Produced by a young Nigel Godrich when he was in his 26, OK Computer it's to this day one of the most acclamied and recognized album not only in Alternative Rock history, but also in music history itself. The english rock band that conquered the world with Creep, a single from their debut album Pablo Honey that pulverized billboard lists, arenas, and radio stations and a britpop sound that was vastly perceived as unique in his own way, proved with High and Dry, and Just on their following album The Bends, that writing pop songs was probably too easy for them. OK Computer not only saw a change on the sound of the band with more abstract lyrics, less melodies and more textures and an eclectic sound. It also changed the way rock was being made and even when prog rock and art rock was already a thing with many of the 70s and 80's band, the themes included on this record, the consumism and consumery, the social alienation in songs like Paranoid Android or Fake Plastic Trees and the constant sensation that the world was going downfall catapulted the group to the pinnacle of music critics, and gaining followers that to this day they are still pretty much of a cult. ¿Are they motivated by the words of Fitter Happier? Maybe. OK Computer was a door for the band itself to a new sound that they would continue to explore in records like Kid A or Amnesiac, more experimental, ambitious, even more abstract. Singles like Karma Police, Lucky or No Surprises peaked highly on the lists and one of the most surprising things it's that this astonishing collection of songs has practically no skips. From the psychedelic sound of Subterranean Homesick Alien to a powerful ballad like Exit Music (For a Film) including a powerful explosion of rock and roll in Electioneering, even the songs that there are suppoused to be fillers are actually one of a kind. Without a doubt, OK Computer it's to the 90's what Dark Side of the Moon it's to the 70's. An album to be remembered forever.

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.

Ebanaya Hueta dlya nytikov

Radiohead is unquestionably an important band and this is one of their more important albums. Their importance stems from their innovation, creativity, and artistry. Whether you like the band's music and sound or not largely depends upon whether you enjoy Thom York's vocal style. I perceive it to be an acquired taste. I like it. But I can absolutely see not liking it. This album is another one that, for me, sits on the border between 4 and 5 stars. I'm going to give it 5 because a) I'm a Radiohead fan, and b) I think it is a significant and important record.

I might be too many listens in and too familiar with Radiohead’s work after this that I’m no longer won over by this album - but, it’s of course very good!

Rock, 1997 -> 3

Hmmmmmmmmmmm

Legendary album. It is a little "of the time" but that gives me a big nostalgic feeling when listening. I slept on this album when it came out, but enjoyed the singles regardless. I rediscovered it after expanding my musical horizons through progressive rock. This gave me the vocabulary I needed to love this album for what it is.

Peak

I recently feel that maybe I'm being too generous with my 5's, but I know it's cause the site keeps giving me some of my favorite and greatest albums of all time; OK Computer is one of those. Such a brilliant album with hauntingly beautiful songs that's been a favorite of mine for many years. Though it's been praised to death, that doesn't diminish it's value or quality, it truly deserves the praise it gets. Fav Songs Paranoid Android Climbing Up the Walls Karma Police Is it Top 1001 Worthy (is it essential)? 100% YES. A brilliant alt rock album filled to the brim with influential and well crafted tracks. An amazing experience that I would recommend be listened to sooner rather than later.

Well, I am sure I'll listen to it again and again for a while

An interestingblisten but fairly boring.

Maybe this is controversial, but it is just okay. There is a lot of mumbling/quiet that makes it hard to decipher good quality vs spaghetti on the wall. And it's either so mellow or occasionally active it doesn't jive together. But it is influential.

of course great

one hundred stars

No skips, no surprises. One of the most complete albums I've listened to. When artists are brave enough to make music feel how society feels and not think putting it in a lyric is enough - we get this.

5/9

Radiohead has plenty of good singles but this is their only album that I really like. And I do really like it. Every song is unique and yet cohesive, so much so that plenty of us have just assumed it is a concept album. The first several songs feel angsty and trapped but by the end it feels uplifting. Would listen many times over.

Few albums divide opinion quite like 𝘖𝘒 𝘊𝘰𝘮𝘱𝘶𝘵𝘦𝘳. Browse enough reviews and you’ll find every reaction imaginable: “overrated”, “music for crybabies”, “I hate Radiohead” — and plenty that are even less polite. Some listeners can’t stand Thom Yorke’s voice, others never warm to Jonny Greenwood’s unconventional guitar work. And, contrary to popular belief, not everyone who gives this album a perfect score is a devoted Radiohead fan. I’m not interested in settling that debate. All I know is that 𝘖𝘒 𝘊𝘰𝘮𝘱𝘶𝘵𝘦𝘳 does everything I want an album to do. Its songwriting, atmosphere, and musicianship come together so naturally that I never feel the urge to skip a track or question a creative decision. Whether Radiohead are overrated or underrated is a debate I’ll happily leave to everyone else. I only know one thing: once 𝗔𝗶𝗿𝗯𝗮𝗴 begins, I’m staying until the final note of 𝗧𝗵𝗲 𝗧𝗼𝘂𝗿𝗶𝘀𝘁. Every single time.

My problem with Radiohead has never been their music. But Thom Yorke and their insane fans.

Rock solid 5 star innovation, production and delivery. Love it all.

eh

Really good album

Day928 - i try with all these radiohead albums but these sad sacks make it hard to listen to

Nice background music.

I don't quite see what all the fuss is about.

I understand if Radiohead aren’t your favourite band but I don’t understand the haters. Radiohead give some good accessible music that isn’t just boom bap, boom bap 1, 2, 3 and 4 stuff. This album is fantastic end to end. I even reccoment]d OKNOTOK to get the b-sides. Brings back memories of the legendary Glastonbury Festival performance that I was lucky enough to be at and the later South Park gig that I also attended. 5 stars for sure and not even my favourite Radiohead Album. If you mark this below 3 stars then I disown you :p

Magnificent

Favorite Track: Paranoid Android

Classic banger, bit too depressing for Monday morning.

well this ones going to be an easy, one Ive literally heard this album hundreds of times, they are and will always be my favorite band everything about this album is perfect the vocals the guitars the production the drums everything just works and its honesty its like listening to one big amazing song

This is one of my favorite albums from when I was in high school/college, and the quality is still good after all these years. Multiple bangers: Paranoid Android, Karma Police, and No Surprises.

Certainly a classic

Can never decide if In Rainbows or OK Computer is my fave Radiohead album. Either way it’s probably in my top 5 albums. A great album needs a great intro and Airbag is that. Paranoid Android is probably the best of the singles. Let Down is beautiful and was always one of my favourites. Climbing Up The Walls my other favourite, loved the eeriness. Electioneering is a strange one, always reminds me of a Stereophonics song. Still good though. I’ll say another perfect album even though Fitter Happier is on here 🐖💊

Is a classic aint it. Best 90s album by a British band? Could very well be

Masterpiece! Every song is great even fitter happier works. Paranoid android and exit music (for a film) are a couple that really stand outs for me, but even no surprises (radioheads wonderwall) is class! I do really like radiohead but its rare I put them on i think ill have to a deep dive into all 9 albums by them.

Although I like a few of their albums better personally This is their most mainstream and crowdpleasing And is still a cracking album No Surprises and Karma Police obvious classics Paranoid Android and Let Down are fantastic 4.5

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

Four-leaning-five. Just incredible!

Nope

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

Genuinely one of the most polished and near perfect albums on this list (other than Fitter Happier, not sure that song even counts). It was my most listened to album of last year and Let Down is one of my favorite songs of all time, this was always gonna be a 5 from me. Literally did jump squats out of excitement when we got this album

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

Hold up, his writing is this fire??

Songs to sit down to

Its Radiohead, you either dig them or you don't. All of it is fantastic in my book.

😃

Not a fan of the start of the album, but it picks up pretty well after the third song, and keeps a steady pace from there.

One of the best albums ever recorded, it blew me away at the time, 30 years later it’s still amazing and it will be in another 30. 5

A masterpiece and there are still parts that make my hairs stand on end even though I've listened to this countless times. For me, this is the best "big" British album of the 90s.

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.

i preferr in rainbows but this is still pretty good

It's full of classics and basically every song is great but it's so dreary. I think Nigel Godrich fucked it up the production is way too slick. And it's overrated. And I love it. But not as much as other Radiohead albums! Subtracting one star in recognition of the recent bad political opinions of certain band members. When you see me giving 5 stars to almost every other Radiohead album please recall the brave stance I took here subtracting one star.

Really on a roll here, rollin 5s for the week, beautiful album, don't care about the haters

3.5

Parlophone NODATA 02 (UK 1998 repress) vinyl rip: A classic. Relevant even today. Not one even mediocre track.

There's nothing like it. This album has such a unique sound that makes me feel emotions without even really diving into what exactly they're saying. I need to do that.

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.

Nice excuse to listen to an untouchable classic. Been years for me

I have their lyrics tattooed on me so can’t give less than 5 note: However, Thom’s political views have to push this down to a 4 (disappointed in him)

8/10 First half better then second half but definitive bangers. Shame they’re Zionists

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.

So beautiful and good album

Music for crybabies

Obviously

10/10 – Masterpiece

Sometimes I tend to think it is overrated. This may be due to the fact that it feels more accessible than Kid A which somehow makes not be as raw and genuine. But then I listen to it and I get reminded of how good this is. 10/10 [KEEP]

Not Radiohead's best but it's a high floor album

went out of my way to listen to the OKNOTOK remaster, partially bc of Man of War, but alos just bc this album slaps dude. Thanks Kyleigh for getting me to listen to more Radiohead

Oh great great, another Radiohead album /s

Hauntingly beautiful and rock and roll grungy all at the same time. No one’s done it quite like Radiohead…

An all timer for sure. Radiohead shows you they can make hot bops with songs like karma police but spend most of their time bringing you on a journey through a haunting feverdream

I would like to speak for all of but epsically Matt and Zak when I say, best album ever. I remember first listening with Matt when he said, "its break from nearly all other concurrent rock gave me the same thrill of the new that dance music of the time did. Its attitude wasn’t nostalgic, but dystopian, and it embraced pre-millennial anxieties exactly when many people—myself included—had just bought their first home computer." And then Zak said "Deliciously melodramatic with frenzied crescendos of massed guitars massaged into busy, buzzy orchestration, it perfectly contrasted with the wounded innocence of Yorke’s choirboy cry." So as my Radiohead loving brothers all got bask in this album's glow again I would like to say, Radiohead....greatest band ever!!!! We like to think so.

Great songs like "Paranoid Android", "Karma Police" and "No Surprises". A little too depressive for my taste but it's very good.

What can you say? May be greatest of all time

Every tone is shit.

As mild as I feel for Radiohead most of the time, I had a really nice listen with this one today, and I always thought it was just good. Really, I still think it's a bit overrated, but it's well made and amazingly executed.

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 - 4 Lucky - 3 The tourist - 3

this thing just keeps wanting to give me perfect albums huh…

Rufus Wainwright called and got me all confused on who the lead singer is. I know people love Radiohead. It's good. I like it. A past version of me probably would have really liked it.

That was a fun listen, don't know if I'd search it out. But if it came on, I wouldn't be mad.

WOW… every time I listen to this album it gets better. Sooooo many masterpieces. 5/5… no notes.

One of the few albums on this list I already owned. Lives up to the hype. I understand how this could not be your thing, but I do think it’s a musically very interesting (and maybe important?) album. I love it. 10/10 Godlike

J’adore cet album, c’est un mélange de rock et de pop, avec toujours un thème assez triste, désespéré. Ma chanson préférée est No Surprises.

This is an extraordinary album. I slept on Radiohead for a long time. If I could go back I would slap some sense into myself and give me a good talking to. The album is melancholic and feels closed in. The more I listen, the more I appreciate each song.

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.

I remember being there, thinking that Radiohead were tge greatest musical geniuses who ever lived. I've since matured past that phase now, but Goddamn this is still easily one of the greatest albums ever made. Sure, it's notoriously the "gateway" into more niche and experimental music, but considering how early I got into this album in the development of my music taste, I still holds up insanely well. It's psychological, haunting, and futuristic, all at the same time. It's such an otherworldly experience listening to this, and the brilliant atmosphere of each and every track is unmatched.

Really good 4.5

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.