Includes a 28-page booklet.

Radiohead: Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, Phil Selway.

KID A won the 2001 Grammy Award for Best Alternative Music Album. It was nominated for the 2001 Grammy Award in the categories of Album Of The Year and Best Engineered Album.

This limited edition of KID A comes as a enlarged digipack book designed by Stanley and Tchock.

Radiohead: Thom Yorke, Jonny Greenwood, Ed O'Brien, Colin Greenwood, Phil Selway.

KID A won the 2001 Grammy Award for Best Alternative Music Album. It was nominated for the 2001 Grammy Award in the categories of Album Of The Year and Best Engineered Album.

Instead of simply adding club beats or sonic collage techniques, Radiohead strive to incorporate the unsettling "intelligent techno" sound of Autechre and Aphex Twin, characterized by its skittering beats and stylishly dark sonic surfaces, for Kid A. To their immense credit, Radiohead don't sound like carpetbaggers, because they share the same post-postmodern vantage point as their inspirations. As a result, Kid A is easily the most successful electronica album from a rock band -- it doesn't even sound like a rock band, even if it does sound like Radiohead. So, Kid A is an unqualified success? Well, not quite. Despite its admirable ambition, Kid A is never as visionary or stunning as OK Computer, nor does it really repay the time it demands. OK Computer required many plays before revealing the intricacies of its densely layered mix; here, multiple plays are necessary to discern the music's form, to get a handle on quiet, drifting, minimally arranged songs with no hooks. Of course, the natural reaction of any serious record geek is that if the music demands so much work, it must be worth it -- and at times, that supposition is true. But Kid A's challenge doesn't always live up to its end of the bargain. It's self-consciously alienating and difficult, and while that can be intriguing, it seems deeper than it actually is. Repeated plays dissipate the mystique and reveal a number of rather drab songs (primarily during the second half), where there isn't enough under the surface to make Radiohead's relentless experimentation satisfying. But mixed results are still results, and about half of the songs positively shimmer with genius. ~ Stephen Thomas Erlewine

1997's OK COMPUTER turned the rock world on its ear by bringing visionary neo-prog rock touches to a Britpop format. Consequently, KID A was one of the most anticipated releases of its era, especially since Nigel Godrich, the man behind the mixing desk for the previous album, was again on hand for this outing.

On KID A, Thom Yorke's passionate wailing is put through the aural wringer, and the band's previous nimbly orchestrated full-frontal sonic assault is replaced by full-frontal electric piano, to iconoclastic effect. The ambient underpinnings and garbled vocals of "Everything in Its Right Place," and the instrumental "Treefingers," the electronic beats of "Idioteque," and Yorke's processed voice on the title track will come as quite a shock to diehard '70s rockers who spent the late '90s deifying Radiohead as heirs to the Pink Floyd throne. But these touches work brilliantly, while the more organic elements, such as the jazzy horn section on "The National Anthem," and the comparatively conservative arrangement (though there's some unsettlingly atonal orchestration lurking here, too) of "How to Disappear Completely" provide a counterpoint to all this incipient modernism.

1997's OK COMPUTER turned the rock world on its ear by bringing visionary neo-prog rock touches to a Britpop format. Consequently, KID A was one of the most anticipated releases of its era. This limited edition comes in a fine, rigid, oversized high-quality glossy paginated format, with artwork by the same hand as the regular edition, and with speculative philosophical jottings heading each page. No secret booklet, though.

On KID A, Thom Yorke's passionate wailing is put through the aural wringer, and the band's previous nimbly orchestrated full-frontal sonic assault is replaced by full-frontal electric piano, to iconoclastic effect. The ambient underpinnings and garbled vocals of "Everything in Its Right Place," and the instrumental "Treefingers," the electronic beats of "Idioteque," and Yorke's processed voice on the title track will come as quite a shock to diehard '70s rockers who spent the late '90s deifying Radiohead as heirs to the Pink Floyd throne. But these touches work brilliantly, while the more organic elements, such as the jazzy horn section on "The National Anthem," and the comparatively conservative arrangement (though there's some unsettlingly atonal orchestration lurking here, too) of "How to Disappear Completely" provide a counterpoint to all this incipient modernism.

Rolling Stone (1/4/01, p.106) - Ranked #8 in Rolling Stone's Top 10 Albums of 2000.

Rolling Stone (10/12/00, pp.85-6) - 4 stars out of 5 - "...A clear-eyed space opera about a plausible future....this 'is' pop, a music of ornery, glistening guile and honest ache, and it will feel good under your skin once you let it get there..."

Spin (1/01, p.73) - Ranked #2 in Spin's "Top 20 Albums of the Year [2000]".

Spin (10/00, pp.171-2) - 9 out of 10 - "...The songfullness emerges from the strangeness, and a beautifully sequenced CD assumes the shape of a classic LP....KID A is not only [its] bravest album but its best one as well."

Spin (10/00, pp.171-2) - 9 out of 10 - "...The songfullness emerges from the strangeness, and a beautifully sequenced CD assumes the shape of a classic LP....KID A is not only [their] bravest album but its best one as well."

Entertainment Weekly (10/6/00, pp.85-6) - "...A genuinely challenging work....a sonic journey..." - Rating: B+

Q (10/01, p.91) - Ranked #13 in Q's "Best 50 Albums of Q's Lifetime"

Q (1/01, p.93) - Included in Q's "50 Best Albums of 2000".

Q (11/00, p.96) - 3 stars out of 5 - "...Beautiful as it is strange....Musically, [its] best features are its keening, lapwing guitars and a thin, atonal orchestral drizzle....best enjoyed with the lights off..."

Alternative Press (11/00, p.95) - 3 out of 5 - "...Like the soundtrack to a movie that hasn't been filmed....This is music that messes with your insides..."

Magnet (1-2/01, p.45) - Included in Magnet's "20 Best Albums of 2000" - "...This year's version of R.E.M.'s UP: a genre-resistant sonic scuplture that plays wicked eardrum tricks at every turn..."

The Wire (1/01, p.34) - Included in Wire's "50 Records Of The Year".

Muzik (11/00, p.90) - 4 out of 5 - "...A record of experiments....This deserves your attention."

CMJ (1/08/01, p.17) - Included in CMJ's "Best of the Year" for 2000.

CMJ (10/2/00, p.3) - "...An epic audio experiment punctuated with raw emotion and inspiring innovation....an unquestionable masterpiece..."

Vibe (11/00, p.166) - 4 discs out of 5 - "...Richly sculpted with multi-colored chords, ebbing rhythms, and oddball time measures, KID A floats...through the galaxy in search of musical cliches to annihilate..."

Mojo (Publisher) (p.66) - Ranked #7 in Mojo's "100 Modern Classics" -- "[W]eeping icons of heartbreaking loveliness..."

Mojo (Publisher) (10/00, p.86) - "...Intriguing, eccentric, obviously a grower....It still sounds a mess, but that's obviously the plan..."

NME (Magazine) (12/30/00, p.77) - Ranked #11 in NME's "Top 50 Albums Of The Year" - "...Warp-style electronica, modern jazz....chill atmospherics and curdled, bitter soundscapes..."

Pitchfork (Website) - "[A] complete album, one where everything from production to arrangements to lyrics to album art were carefully crafted towards a unified purpose."

Record Collector (magazine) (p.92) - 5 stars out of 5 -- "[S]uitably liberated....These are recordings with soul..."