PREVIEW: Radiohead’s “Harry Patch (In Memory Of)” MP3
PREVIOUS COVERAGE: Editor’s Pick 146: Thom Yorke and Bon Iver soundtrack New Moon

Radiohead’s newest recorded song “Harry Patch (In Memory Of)” sounds like nothing else they have done before. Perhaps it’s the sweeping string section that sounds as if it belonged in a film score, or maybe it’s the unusually direct lyrics — which were actually taken verbatim from an interview with the last surviving World War I veteran, Harry Patch, whose recent death inspired the song. Either way, the song is beautiful yet mournful and an unsettling anti-war tune whose sound most resembles “Motion Picture Soundtrack,” the last track on Radiohead’s 2000 album, Kid A.

However, it remains to be seen whether this track is representative of their new album’s sound. Thom Yorke previewed a new song, “The Present Tense,” at Britain’s Latitude Festival last month, which sounds like a more mellow “Jigsaws Falling into Place.” So perhaps the band hasn’t totally gotten back on an experimental course (i.e. Kid A, Amnesiac).

The new song “Harry Patch (In Memory Of),” is currently on sale on Radiohead’s waste.co.uk website for just one pound. It’s all for a good cause, since the proceeds go towards the British Legion. So to all the cheapskates who paid a penny for In Rainbows, you should definitely shell out for this one. It’s well worth the pound.

– Charlie Weeks

El domingo realice una actividad para la cual no estaba preparado, mas alla de que fui funcionario de casilla, para lo que no estaba preparado era para soportar ese día, convivir con desconocidos con los que no tenia nada en común por mas de 12 horas, tolerar a la multitud que iba a llegar y sobre todo tratar con la gente que no viene siendo mi fuerte.

Aun asi lo hice de maravilla, mi hermano reconoció eso, que para mi fue algo muy diferente ya que exploto ante los pendejos, no soy de esos que platican mas allá de que hace frió o de que salio el sol, de que hoy juega México y esas cosas y sobretodo que no soy el tipo de persona social.

Aun asi lo hice, conviví con esas personas y me la pase bien, estuve pendejeando al colega presidente lo cual hizo mas amena mi tarde y al final hasta le gorree la comida a la seño secretaria.

Hoy también hice algo que según yo no sabia hacer, algo para lo que no estaba preparado, me hiperventile, jejeje fiel a mi costumbre en situaciones de alto stress emocional. Pero al final hice lo que quise. Me estoy dando cuenta que los amarres que tenia me los impuse yo solo y que ahora estoy armado hasta los dientes estoy liberándome de muchas cosas. Una a la vez. Pero el chiste de esto es mantenerse en la batalla. No doblar los brazos.

Me cito de un post anterior que a la vez esta citando a los Streets “al final uno es quien se cuida la espalda. Nadie mas que uno debe pelear en la ultima trinchera, nadie excepto uno mismo. Nadie mas que tu mismo puede cargarte y llevarte hasta el final.”

Buen día a todos.

Red Wine & Sleeping Pills @google

I’ve known Motion Picture Soundtrack since my days at Uni in Canterbury. My band played a few gigs with them, and other bands on the same circuit always showed a certain amount animosity towards them. This was partly due to what appeared to be a lot of well looked after expensive equipment (you see, you’re not a real band unless your gear was battered when you bought it off eBay and has got more battered since) but mostly due to them apparently being on the brink of real success. Envy, I suppose, but I found it hard to feel anything negative towards them, as they were  nice guys who got us a few gigs. And, well, they were really good.

I say the brink of success, it actually became a bit of a joke during the years of playing with them that nothing actually would come to fruition. There was always a rumour that MPS had got interest from a major, their debut single was coming out next week, no, week after next, no, next month… Talking to the band before this gig it was clear that this was still ongoing, only now it didn’t sound like bullshit. An album recorded and major labels at the door, they are waiting for a bit of positive PR to give them the green light.

So, to the music. Back when we first heard rumours of MPS hitting the big time it seemed feasible, the world was looking for another Coldplay. Main touchstones are, Jeff Buckley and… er, mostly just him. Since then though, indie bands started aping the Libertines, carried on aping the Libertines, then aped the Libertines a bit more, until we all got very very bored and invented a new genre which didn’t have to involve guitars. It was called New Rave and only people who wrote for or read the NME really believed in it. Nonetheless, the Libertines were only aping the Kinks in the first place, so that makes the term ‘the new Coldplay’ a massive oxymoron – anything traceable back to Coldplay is inevitably old hat and unfashionable.

All of which basically means that for the majority of their life, this band has not made fashionable music. Which I think is the major reason why they haven’t breached the next level, because they are certainly good enough. They have always created soundscapes, but before those were created with guitars, delay and the occasional e-bow. Now it involves strings samples, Graeme Blackwood’s drumming has become massively fuller and more rounded, whilst the guitars and bass sound the same but EVEN more expansive.

Other than being unfashionable, the only shortcoming of MPS’ have ever had is a lack of songs that you’d be able to pick out of a line up. Nothing is particularly memorable. As debut single Departure bursts into life the sound hits you deep in the chest, and as I sit here now I could probably still hum the melody to the chorus, but it is still the only moment in the entire set that might stick. The rest is just a feeling…

But, it is a good feeling. I am unsure as to whether they’ll make that next step. I do hope they do, but MPS have crafted a sound for stadiums, and I’m not sure I can see them playing much bigger venues than here at the Water Rats…

www.motionpicturesoundtrack.com

www.myspace.com/mps

Charlize Theron is the consummate choice for “Wife.” Viggo Mortensen as “The Man?” Not bad. Guy Pearce and Robert Duvall, both of them ubermenschen. Molly Parker? We’ll see.

But the question that most interests us is, How should the film be scored? Chris over at Gorilla vs. Bear thinks he’s got the sauce.

Mesmo quem não gosta de Radiohead não pode negar a força de algumas músicas. E talvez a mais fantástica seja Motion Picture Soundtrack – que, aliás, eles não vão tocar no show do dia 22. A música, que saiu no álbum Kid A, originalmente era pensada como integrante de OK Computer. A banda, entretanto, não endossou a idéia de Thom Yorke. Motion Picure Soundtrack só foi tocada ao vivo pouquíssimas vezes – em um solo de Thom criando os sons perfeitos para embalar um funeral (I will see you in the next life), para chorar pensando nos momentos bons, ruins e insignificantes do passado e na total inutilidade de nossas vidas. Em vez de pétalas de rosa, coloquem essa música para tocar e vão para um passeio pelo jardim. Não vale a pena ficar pensando, não.

Red wine and sleeping pills
Help me get back to your arms
Cheap sex and sad films
Help me get back where I belong

I think you’re crazy, maybe
I think you’re crazy, maybe

Stop sending letters
Letters always get burned
It’s not like the movies
They fed us on little white lies

I think you’re crazy, maybe
I think you’re crazy, maybe

I will see you in the next life

vino rosado y pastillas para dormir
ayudame a volver a tus brazos
sexo barato y películas tristes
ayudame a volver a donde pertenezco

creo que estás loca, puede ser
creo que estás loca, puede ser

deja de mandar cartas
cartas siempre acaban quemandose
no es como las películas
ellos nos alimentan con mentiras

creo que estás loca, puede ser
creo que estás loca, puede ser

te veré en la siguiente vida

Listen to the x-rated emosanal atyachar. It’s hilarious.

Obscenity warning: explicit language used.

I’ve always loved motion picture soundtracks. It was surreal, emotional, the piano impressions very strong – the ride takes off, and you feel the wind, hear shatter of silence, and the drops of water tickling your soul. It takes my feet away, high up from the ground and lets me imagine what the scene would be like, floating in my pool of thoughts, recreated visually in my minute mind. (What an articulate statement!) But of all the things that beckon my consciousness, never was myself included. It’s like, the beauty of the orchestra doesn’t suit me and my thoughts. It’s always a very pretty girl and her lover, those similar kind of lives and situations… It’s like the greatest, shallowest, unbelievably tear-jerking dramas unfolding, one by one.

If someone wrote the music of all that I’ve gone through, I imagine, what would it be like? I think, it would be the same songs all over again as my life is repetitive, the sad ones on repeat mode. Hah. If someone would ever do that for me, it better be Hans Zimmer, Ennio Morricone, Frederic Chopin, or Claude Debussy. Craig Armstrong, Quincy Jones…

Hah. My world is not the reality I’ve always thought. When I surf through the memories, no adaptation of this real life can justify the former. I can’t really remember much myself… It seems much more complex, much more obscure, fractured and perverted. And definitely much more crazier, with a lot of retarded things going in and out of my mind. If you ever heard your own soundtrack, what would it feel like for you? For me, maybe, a Frederic Chopin composition will make me cry an ocean. Or the whole body of water the world has, currently. Or maybe a planet. I can’t wait to break down and kneel to the greatest music I’ll ever hear. I’ll be hearing the disgusting notes when I did the greatest crime of my life ever, the dumbest thing I’ve ever done, the first time I thought I fell in love, the most heart-wrenching thing said to me…

If I died, what a halt… what a splendid halt. The dawn of a very unsightly day. All too fast? It’s almost Christmas, but it still feels like June… But weirdly, pacing is slow from down here.

The next thing you’ll read is purely random. Just an outtake from my written journal on the very same day this was written too.

“Out of nowhere there’s a constant air of glum that enfolds me…all I wanna do is break away from my smiling mask and smile, truly. Or else, That is what I’ll end up with (Attn: ‘That’ refers to, like, life of lies, more like living hell). I’ve gotta have faith. ‘Cause maybe soon, the sky will be painted a bright color. With rainbows. And ‘butterflies, and zebras, and moonbeams. And fairytales.’ – Little Wing, by Jimi Hendrix.”

What a life. I’m being so melodramatic. I should be Norah.

Norah Jones with the beautiful Sunrise.

Red wine and sleeping pills
Help me get back to your arms
Cheap sex and sad films
Help me get back where I belong

I think you’re crazy, maybe
I think you’re crazy, maybe

I will see you in the next life

Radiohead – Motion Picture Soundtrack (click to download)

———————————————————————————————————————

I’m not so sure if there is a more romantic moment in songwriting history than to say, “I will see you in the next life.” There is nothing beyond that, and it all culminates to that moment. No matter the loved ones you have lost, you will (hopefully) lay claim to the fact that this time is not the end. I am encouraged to know that I will not feel as though you’re gone forever. Maybe for this side of eternity I will miss out, but I know it’s not forever. And by the time I get to heaven, I’ll be perfectly content no matter what.

I’m just trying to feel that way in the here and now.

I so greatly wanted to see The Swell Season in Dallas tonight. I had tickets and everything, but that opportunity was drawn to a close. I ask God what He’s doing, and I say that I want to be in on the plan. I am having such a hard time being grateful for the hard times, you know? And I’ve had a sore throat for a few weeks now, and it really does make me a little bit frustrated.

Oh, and I don’t say this so you can think how awesome/dedicated/desperate I am, because I’m not, but I fasted from all food today, and I will continue to do so until the proper time. I am drinking water and abstaining from all food until I feel like God has completed me in this time. I have never done this before, and I’ve been reading about why people fast, and the things that God would expect from you in that time.

…which leads me to say that I think the book of Job is so very interesting. It details the sovereignty of God, and Job, for the most part, handles his grief with flying colors. He drifts toward whining, but I think he would be more entitled to that than anybody else I know. I feel like I’m at a point where nothing is under my control. I feel like God is, for whatever reason, turning my life inside out and undoing so many things. Let’s see some verses:

Job 9:27,28 (NASB):

“Though I say, ‘I will forget my complaint, I will leave off my sad countenance and be cheerful,’ I am afraid of all my pains, I know that You will not acquit me.”

That is what I was referring to in my last blog. God typically does not remove things from my life when I ask Him to. Usually there is a specific reason for prolonging an intense situation, a result that somehow makes me stronger in the end? I should surely hope so.

I think it is such a problem that so many Christians think that it’s wrong for God to do whatever He wants. That’s the nature of who He is–He can do whatever He wants because He knows what’s best, and you certainly do not know.

Job 13:15,18 (NASB):

“Though He slay me, I will hope in Him. Nevertheless I will argue my ways before Him. Behold now, I have prepared my case; I know that I will be vindicated.”

Job felt as though He was being slayed, and that no matter what, he would be eventually vindicated. I know that no matter how badly I suffer, that God will bring about the right conclusion from all of this. I must be patient and tell Him how I feel, but I put my hope and confidence in His best judgment.

Finally, I’m learning that I can see that even amidst devastation, that God is working to bring about great things through me and others.

Job 19:25-27 (NASB):

“As for me, I know that my Redeemer lives, and at the last He will take His stand on the earth. Even after my skin is destroyed, yet from my flesh I shall see God; Whom I myself shall behold, and whom my eyes will see and not another.”

I love the power of Christ that is represented there. No matter the outcome of life, it all eventually leads to His power over earth. All I can do is give in and bank on that outcome. This all reflects the complete sovereignty of God, and that nothing can thwart Him.

Please pray for me as I come to grips with this reality. Many of you know that I’m going through a supremely challenging time in my life, and God has made me lose so much, but I’m praying that instead of living with regret and heartache that rather I can be peaceable and thankful for my circumstances. I know that God is not in the business of screwing people over, the ones that truly love God and follow His commandments. I’m learning to love Christ and to love all no matter what happens.

I am too learning to accept great things and to accept hardships. This is the most powerful truth I have encountered in the Bible in a long, long time. I pray that you’ll heed God’s warnings and not wait until God takes rather obvious measures to get your attention.

I’m so glad that I’m more emotional about Christ now. Worship truly penetrates my very core because I know why I sing and where my thoughts are going. Though I wish I would never have had to make these mistakes and learn from that experience, I am truly in love with my God, now, and I would not change a thing that led to me getting here. I wouldn’t change a single mistake, any heartache or judgment because I would in turn avoid the greatest thing that’s happened to me in forever.

I feel so very vulnerable right now.

Hacía tiempo que no hablaba de Radiohead, y de hecho voy a seguir sin hacerlo, pues lo que quiero hoy simplemente es que os deleitéis con el videoclip de “Motion Picture Soundtrack”. Una canción triste y melancólica ideal para escuchar en soledad a altas horas de la madrugada. Reconozco que es un tema que al principio no miraba con buenos ojos, pero tras unas cuantas escuchas le cogí el punto y acabó por ser uno de mis favoritos.

“Kid A” is a polarizing album. Radiohead had seemingly perfected their alternative rock formula with the highly successful and widely praised album “OK Computer”. Instead of attempting a similar follow up, they completely deconstructed their sound and created an album that sounded completely different yet was still Radiohead. They almost completely left behind the rock part of their sound to create an almost entirely electronic album. The end result is an incredible and breathtaking album and possibly the greatest change in the direction of a band, ever.

The confusion this album created is obvious. Reviews range from perfect scores hailing it as masterpiece and the greatest pop album ever, while others call it a piece of trash and give it terrible scores. 

The change of sound is evident from the very beginning. Synthesizers pile up as Thom Yorke’s voice fades in and out in an incoherent manner to begin the first song, “Everything in Its Right Place”. Yorke continues to sing over the electronic soundscape chillingly singing the odd line “yesterday I woke up sucking on a lemon”. Various sound effects pile up as the song gradually becomes more chaotic. The title is almost an oxymoron, giving the disjointed feel of the song. 

Eventually the first track calms down to give way to the second song of the album, the title track. An electronic beat dominates the song as various synths add texture. Yorke’s voice is once again not understandable, but the lyrics aren’t the focus of the song. The atmosphere of the album continues to grow as the song continues. By this point, most listeners will already be swept away by the abstract sound of “Kid A”. 

If the first two tracks didn’t grab you in, “The National Anthem” is here to sweep away all doubts. Out of nowhere, a catchy and strong bass line appears to start perhaps the most rocking song of the whole album. The drums come crashing in and all doubts are swept away, Radiohead has outdone themselves once again. Various horns fade in and out through the course of the song, keeping the abstract feel alive. 

Radiohead once again shifts the tone of the album with the next song, “How to Disappear Completely”. This song is the spiritual successor to the “OK Computer” song “Exit Music (For a Film)”. It’s a slow and sad ballad featuring mostly just Yorke’s singing and an acoustic guitar, with various electronic textures spread throughout. The lyrics are quite melancholy with lines such as “I’m not here/this isn’t happening”. 

Just as “How to Disappear Completely” starts to wear out its welcome, the album returns to its electronic sound for the instrumental “Treefingers”. The song is comprised of various soothing synths and is virtually rhthym-less. The song acts as a nice intermission and is a good way to break up the album into two halves. 

The next song, “Optimistic” starts with a bang as a driving electronic drum beat and bass opens up the song, with Yorke and a guitar joining quickly. “Optimistic” is one of the few songs on the album to have a standard chorus, and it’s certainly quite catchy and great way to start the second half of the album. Like most Radiohead songs, the song is actually quite melancholy despite the title. The album ends on an almost funk note, creating a very cool segue to the next song.

“In Limbo” starts right where “Optimistic” leaves off. While certainly not a bad song by any means, it’s also not anything exciting, and as the title humorously suggests, is more of a long transition between the two pieces on each side. That being said, it should never be skipped and does help build the mood.

“Idioteque” is probably the most popular song on the album and is a fan favorite. The song has a very catchy electronic beat and synthesizer lead and the sing along line “Ice age comin’”. It is certainly one of the album’s many highlights.

“Idioteque” flows right into the penultimate song “Morning Bell”, which is a softer song with rather impressive singing by Yorke (well, more impressive than normal that is). The song grows more and more abstract and dissonant as it leads into the breathtaking album closer “Motion Picture Soundtrack”.

The song begins with horns with Yorke shortly joining. The song is a complete surprise in that it’s actually…upbeat. After an incredibly yet slightly melancholy album, it decides to end on an up note. Yorke sings “I think your crazy/maybe” and a harp joins in to give the song an almost epic quality. The song sounds very…big to give the album a grand finish. 

Or not? After a minute of silence there is a short orchestral instrumental piece to finish off the album, followed by another couple minutes of silence to let the listener reflect on what they have just heard.

The atmosphere this album creates is unparalleled by anything else I have ever listened to. As soon as the album starts I get swept away by its abstract and unique soundscape and lose myself completely for 50 minutes. There is so much beneath the surface of this album that each listen is just more and more satisfying. It’s rather hard to explain the impact this album has.

One certainly won’t notice this at first either. While interesting, the first listen might not be great. For me it took at least a couple listens before the album really got to me. It is certainly one of those albums that needs to be listened to multiple times before its secrets start to reveal themselves. Give the album some time and it ultimately may be the most rewarding album you own.

Not everyone will like this album, for it is by far the most “far out” album Radiohead has made. After this album they kept the electronic sound but also brought in more of their rock influence as well. Despite hitting #1 in the US it did not produce any singles or videos, mostly because this album is meant to be listened together as one piece and not as separate songs. People who like catchy four minute songs and don’t have the patience to listen through a whole album will not appreciate this at all, but everyone else (regardless of their favorite type of music) should listen to this album for it is a truly genre-transcending masterpiece.

Rating: 5/5

Track listing:

Hey guys. Although I’m not in the same hemisphere as any of my readers (I assume), I plan to eventually go back to updating this blog semi-regularly. I haven’t reached that point yet, but I read an interesting book on the plane ride over that I wanted to talk about.

If you can’t tell, Chuck Klosterman is a pretty big influence on my criticism. I don’t always like his personality, but his writing is always compelling and interesting. So I decided to read this book.

At one point in the book, Chuck Klosterman argues that Thom Yorke unintentionally predicted the events of September 11th in the album Kid A. You can read part of his argument here.

While I kind of doubt that Radiohead somehow subconciously foresaw September 11th, Chuck’s argument resonates with me for a few reasons. First of all, he’s mostly right; Kid A would be a really good soundtrack for the time around September 11th. Every song fits, really. Two songs in particular fit really well, in my mind.

“Kid A” is probably my favorite Radiohead song. I have been obsessed with it for at least a year and a half, for a variety of reasons. This song evokes themes of childhood, regret, and Thom Yorke attempting to understand how he should use Radiohead’s enormous influence after OK Computer and the extent to which he deserves it or owns it. But I think the most prominent theme of the song is the desolation (and isolation) Thom feels in 21st century 1st world life.

There’s a vague, but strong and unrelenting, sense that Thom is certain that something is horribly wrong with the way things are going. Something terrible is about to happen because of choices those in power have made. I imagine this as pretty much being Thom Yorke’s soundtrack for everyday life circa 2000. But it also fits perfectly as a soundtrack for the morning of 9/11, right before the planes crashed into the World Trade Center.

“Motion Picture Soundtrack” used to be my favorite track on the album, and it’s still one of my favorites. The theme of death is very prominent, of course. The instrumentation (organ, harp, electronics that sound a lot like a choir near the end) are reminiscent of a Christian funeral, evoking not only death, but also specifically evoking Western culture.

More broadly, I’ve always felt that this song is about the relief and joy you experience when you stop trying to control everything and completely let go. In this case, Thom does it by vicariously dying. After the last lyric of the album, “I will see you in the next life,” there is a fairly long instrumental section as Thom dies. After a minute or so of complete silence, the ending sequence clearly evokes an ascent to heaven, which is again followed by complete silence.

This could be the experience of someone dying on September 11th. But I think the primary meaning of this interpretation (through the lens of the September 11th theme) is more likely that it represents the thoughts of a survivor releasing his grief and fully accepting what happened. He accepts that he will see those he lost in heaven, and he is finally able to continue living normally. The final instrumental sequence represents the actualization of this promise.

Another feeling I get from “Motion Picture Soundtrack” is the horror you would feel while witnessing a death that you don’t quite understand. It’s a startling juxtaposition of the primal (the feelings of watching a loved one die) and the complex (trying to interpret what it is that you’re seeing).

It sounds like what you would feel when you watch someone die from a disease you don’t really understand, for example. Or if they die from something that used to seem completely safe, like going to work in the World Trade Center, and you had to effectively watch their death on television. The moment isn’t at all private, because it’s broadcasted live around the world. Yet you don’t get the satisfaction of actually seeing your loved one in their dying moment. You get the same view as everyone else, and you feel profoundly cheated.

For the record, though, I don’t know anyone who died on September 11th, so these feelings aren’t really mine. But Kid A evoked these moods in my mind before I read Chuck’s book. It’s just that his argument makes the some of the effects Kid A has on me make more sense.

I also want to emphasize that I don’t think Thom Yorke predicted September 11th. I think how well Kid A fits with September 11th is partially a result of Thom’s profound understanding of the cultural climate around the time Kid A came out (less than a year before September 11th) and partially a result of the thematic ambition of the album. Every song touches upon so many different topics, so they can be viewed in a meaningful way in many contexts. It also helps that Kid A is a very narrative album, so it would go along well with a lot of stories.

Anyway, like I said in my About page, Kid A is my favorite album. I easily consider it to be the best album of the last twenty years. I think it’s an amazing artistic accomplishment that was created by the greatest musical minds of our time, and I think we as people are lucky to have an album this great, because the circumstances that created something this great needed help from a certain amount of luck.

I could write a lot about Kid A, and I probably will do so in the future. Although I generally listen to it at least once a month, I haven’t listened to Radiohead at all much recently for two reasons related to me trying to improve as a musician myself. First of all, Radiohead is so good that most of their discography (from The Bends on) is more intimidating than useful, which is just discouraging. It just makes me feel like I have way too far to go as a musician myself. More ordinary artists are easier for me to learn from precisely because there is less to learn from them.

Also, Radiohead’s entire ethos is morose and discouraging. I don’t care what Thom Yorke says, the reason why everyone says that Radiohead is depressing is because they are. I don’t think anyone was ever directly motivated to do anything profoundly important by listening to Radiohead. They definitely help you understand life, but they’re not going to help you get anything done.

: : : : : : : : : : :

Dear Friends-

Oh my word, my friends, my ladyfingers! – let me tell you all… intentional writing:

Excruciating!  

Oh my word, my friends, my ladyfingers – let me say: On my brightest days I write

Page after page – up, down, all around. 

And please let me say: Don’t I sound so, so sound…? 

Take a peek in my big, black book; 

Sneak a sideways stare at the scribbles, my nods to neolithic linguistics; 

And then let me ask: 

What’s a person to pen down today with the gross amount of brain waves already

Rippling through the pond? 

It’s purely a pursuit of a pulse in vain, these efforts are all in vain! 

I shot back to the corner in utter horror, for the accident was much to behold. 

The scene: sinking. 

The stage: collapsing. 

The actor: unmasking. 

And the drama’s author: tight like a violin string under tremendous tension. 

Yelps, human howls, and locust sounds weaved their ways into the sine wave

Depicting violins playing in a shrieking key; 

Violent violins, very violent…: 

Music without words – what does it say? 

A motion picture soundtrack – I’ve found a format:

A page per thought, a rectangle in shape, a cigarette box in size.

-From Xanax, with Love 

Típica canción de final de disco de un gran álbum como es Kid A. A los pocos días de escucharla ya sabía que había algo de especial en ella. Junto con Optimistic y How to Disappear Completely son mis preferidas de esta grabación.

Fue compuesta mucho antes de su inclusión en Kid A, como puedes leer aquí.

Es muy conocida la versión previa o temprana (Early version) , para mi gusto más bonita que la del álbum, que carece del último verso – beautiful angel pulled apart at birth/limbless and helpless/I can’t even recognize you - quizá para dotar de mayor impacto al final de un disco ya que se termina con un rotundo – I will see you in the next life – haciendo también un guiño a la audiencia y así convocarlos a escuchar su siguiente trabajo.

La versión de estudio tiene más artificios y su letra es más corta. Aquí tenéis la puesta en escena en un concierto

También hay fans que han versionado este tema. Gracias al vídeo de este tío me he animado a escribir algo sobre esta canción… muy buen trabajo!!!