[et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_code module_class=”custom-cat” _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”]<\/p>\n
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[\/et_pb_code][et_pb_text module_class=”article-title” _builder_version=”4.20.4″ _module_preset=”default” header_font=”||||||||” header_text_align=”center” header_text_color=”#111111″ header_font_size=”68px” custom_margin=”40px||||false|false” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
[\/et_pb_text][et_pb_text module_class=”intro-text” _builder_version=”4.20.4″ _module_preset=”default” text_orientation=”center” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
MOJO’s top ‘Head cases rank and rate every album from the 21st century’s most important band.<\/p>\n
[\/et_pb_text][et_pb_text module_class=”credit-main” _builder_version=”4.20.4″ _module_preset=”default” text_font=”||||||||” text_font_size=”16px” text_orientation=”center” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n
Words by Pete Paphides and Chris Catchpole <\/span><\/p>\n [\/et_pb_text][\/et_pb_column][\/et_pb_row][\/et_pb_section][et_pb_section fb_built=”1″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/Radiohead-1995-hero.jpg.jpg” title_text=”Radiohead-1995-hero.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Listen to Radiohead\u2019s debut album\u00a0Pablo Honey\u00a030 years on, and it feels like a prologue. The grungey ing\u00e9nues of 1993 seemed happier to run with the pack than set the pace. Also on that record, of course, was the breakout hit Creep, and their entire career can be seen as a chain of events that leads directly from that period. The group\u2019s mortification at being defined by one song prompted the creative block Thom Yorke found himself only able to exorcise by delivering the confessional catharsis of The Bends. Speaking to MOJO in 2003, drummer Phil Selway opined that the opaque, esoteric detours of\u00a0Kid A and\u00a0Amnesiac\u00a0were prompted in part by Yorke\u2019s feeling that he had laid himself too bare on the group\u2019s preceding albums.<\/p>\n Increasing revulsion that they might be a part of rock music\u2019s mooted obsolescence has created a tension in Radiohead\u2019s music that is never likely to be resolved, and by evolving with every new album they\u2019ve become peerlessly adept at giving us the record that we didn\u2019t know we wanted.<\/p>\n To call Radiohead a band these days only goes some way to describing how they run their affairs. At times, they seem more like a loose aggregation of like-minded music workers dispensing sonic bulletins. The last three albums appeared with almost no advance notice, while you\u2019d be forgiven for missing some of the inspired recordings that have surfaced between albums: in particular 2011\u2019s digital two-hander The Daily Mail\/Staircase and 2009\u2019s Harry Patch (In Memory Of).<\/p>\n Like The Beatles and David Bowie, their influence seems to be all around us. To any young guitar band worth their salt,\u00a0The Bends\u00a0and\u00a0OK Computer\u00a0remain part of the core curriculum; to latter-day sonic expeditionaries such as Animal Collective and Jon Hopkins,\u00a0Kid A and\u00a0Amnesiac\u00a0are proof that esoteric, challenging music can crossover to a discerning global fanbase. Over three decades, Radiohead have given us the best of both worlds. While we are still awaiting the now long-awaited follow up to 2016’s A Moon Shaped Pool, the band’s first tour in seven years has seen them dip into some lesser-aired classics from across their nine studio albums – OK Computer’s Let Down, now an unexpected TikTok hit; Just from The Bends, Kid A’s Optimistic – with each night delivering a freshly mixed setlist. Here to remind us, is a rundown of the recorded source material…<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][et_pb_row _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_column type=”4_4″ _builder_version=”4.20.4″ _module_preset=”default” global_colors_info=”{}” theme_builder_area=”post_content”][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/Pablo-Honey.jpg.jpg” title_text=”Pablo-Honey.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 10. Pablo Honey<\/b> (Parlophone, 1993)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n From three decades\u2019 perspective, the maligned status of Radiohead\u2019s debut album can in large part be put down to the fact that the band so conclusively eclipsed it with every subsequent release. While few would have bet that the author of Vegetable would be capable of delivering Fake Plastic Tress just two years later, when taken on its own terms,\u00a0Pablo Honey\u00a0is by no means a terrible record. The Gen X slacker rock grumble of Anyone Can Play Guitar Stop has an of-its-time charm, while the reflective Stop Whispering hints at the emotion power laying dormant within them. Then of course there\u2019s Creep, the song whose success could have very easily destroyed them. A necessarily first step towards far greater things.<\/p>\n KEY TRACK:<\/strong> Creep<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/I-Mihgt-Be-Wrong.jpg.jpg” title_text=”I-Mihgt-Be-Wrong.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 9.<\/b> I Might Be Wrong <\/strong>(Parlophone, 2001) [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Recorded during Radiohead\u2019s 2001 tour,\u00a0I Might Be Wrong\u00a0found the band reassembling the experimentations of Kid A and Amnesiac into living, breathing \u2013 and crowd-pleasing \u2013 organisms. Finding a balance between the blood and guts of their live performances and brow-furrowing studio explorations that would light a path towards every record that followed. Like Spinning Plates is reimagined as a stately piano ballad, Idioteque a thunderous tour-de-force from Phil Selway on drums and there\u2019s a rare outing of the \u2013 at that point \u2013 unreleased Thom Yorke weepy True Love Waits.<\/p>\n KEY TRACK:<\/strong> True Love Waits<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/King-Of-Limbs.jpg.jpg” title_text=”King-Of-Limbs.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 8. The King Of Limbs<\/b> (XL, 2011)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Remove the weaker tracks from 2003\u2019s\u00a0Hail To The Thief\u00a0and you are left with a great album. However, were you to do the same with Radiohead\u2019s eighth \u2013 jettisoning exercises in almost comical impenetrability such as Feral and Bloom \u2013 and what you\u2019d be left with is an EP. That said, what an EP. The seductive tendril-grip of Little By Little; the muggy opium embrace of Codex and the Narnian campfire incantation of Give Up The Ghost brooked no comparison with any of their contemporaries. When\u00a0The King Of Limbs\u00a0is good, it stands up to anything from Radiohead\u2019s illustrious past \u2013 but even for diehards,\u00a0a little more wouldn\u2019t have gone amiss.<\/p>\n KEY TRACK:<\/strong> Separator<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/A-Moon-Shaped-Pool.jpg.jpg” title_text=”A-Moon-Shaped-Pool.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 7. A Moon Shaped Pool<\/b> (XL, 2016)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n More focused and organic sounding than its predecessor, 2011\u2019s\u00a0The King Of Limbs, Radiohead\u2019s ninth album was heralded by the nervous strings and \u201clow-flying panic attack\u201d of Burn The Witch (and its inspired, Trumpton-does-The Wicker Man video). The rest of\u00a0A Moon Shaped Pool, however, might just present the group at their most relaxed and, dare we say it, chilled out. Desert Island Disk and Present Tense are all warm 70s folk gently blown over by soothing ambient balms and throughout, songs find a place between hushed acoustic reflection and subtle sonic brushstrokes. And finally, an album which the perennially shelved True Love Waits can find a home.<\/p>\n KEY TRACK:<\/strong> Burn The Witch<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/amnesiac.jpg.jpg” title_text=”amnesiac.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 6. Amnesiac<\/b> (Parlophone, 2001) [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Released eight months after\u00a0Kid A,\u00a0Amnesiac\u00a0was assembled from the same sessions. Yet the bright boxy extremes of the former set an altogether different mood to that established here by stand-outs like Pyramid Song and I Might Be Wrong. It doesn\u2019t all work; the Blair-baiting cabaret noir of You And Whose Army is heavy-handed; Pulk\/Pull Revolving Doors represents perhaps one\u00a0musique concr\u00e8te\u00a0detour too many. But just as you can\u2019t edit your dreams to your absolute liking, even these songs are faithful to the shadowy wits-end ambience that also yields gems like Morning Bell\/Amnesiac and the distressed ragtime of Life In A Glass House.<\/p>\n KEY TRACK:<\/strong> Pyramid Song<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/hail-to-the-thief.jpg.jpg” title_text=”hail-to-the-thief.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 5. Hail To The Thief<\/b> (Parlophone, 2003)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n These days, Thom Yorke feels that Radiohead didn\u2019t cede enough power to producer Nigel Godrich in selecting the tracks for their sixth album. You can see his point. A little judicious editing (does\u00a0anyone\u00a0like We Suck Young Blood?) allows some of the group\u2019s best work to shine: notably, the rapturous oil-can funk of Where I End And You Begin and the apocalyptic Sit Down Stand Up. Elsewhere, 2+2=5 and There There reminded us that they could still summon the same synergy when standing in the same room. In short, most other artists would have traded an internal organ for a \u2018dud\u2019 like this.<\/p>\n KEY TRACK:<\/strong> There There<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/the-bends.jpg.jpg” title_text=”the-bends.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 4.<\/b> The Bends<\/strong> (Parlophone, 1995)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n The old adage about what doesn\u2019t kill you making you stronger is a perfect fit for Radiohead\u2019s second album. Ordered to go on the road by producer John Leckie after prolonged tortuous studio sessions, the re-energised group returned and recorded the whole thing in a fortnight. It shows. Using alcohol to catch themselves off-guard, Planet Telex blew the creative floodgates open; while My Iron Lung saw them formally exorcise the spectre of Creep by writing about it. The quantum leap both in terms of songwriting \u2013 Just, Street Spirit (Fade Out), (Nice Dream) \u2013 and Yorke\u2019s voice means that, even now,\u00a0The Bends\u00a0remains a set text for every young guitar band.<\/p>\n KEY TRACK:<\/strong> Street Spirit<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/in-rainbows.jpg.jpg” title_text=”in-rainbows.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 3.<\/b> In Rainbows<\/strong> (XL, 2007)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n Prior to\u00a0In Rainbows, Radiohead had variously sounded like an exceptional live band and hermetic musos prodding around on powerbooks in the hope that the next noise might yield a new direction.\u00a0In Rainbows offered a seamless blend of both. Weird Fishes\/Arpeggi refracted Aphex Twin\u2019s occasional journeys into Cornish digi-folk through a gauzy analogue fever dream; 15 Step was a hobnail-booted military drill which owed just as much to forgotten avant-gardists Disco Inferno as Yorke\u2019s beloved Four Tet. Even after its game-changing name-your-price download release, it entered the US and UK charts at Number 1. Big and clever were no longer mutually exclusive.<\/p>\n KEY TRACK:<\/strong> 15 Step<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/OK-Computer.jpg.jpg” title_text=”OK-Computer.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 2.<\/b> OK Computer<\/strong> (Parlophone, 1997)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n The word-of-mouth response to\u00a0The Bends\u00a0meant that Radiohead knew their third album would make a considerable impact \u2013 the backdated goodwill even prompted Radio 1 to playlist obtuse lead single Paranoid Android. Hindsight and familiarity have conspired to make\u00a0OK Computer\u00a0seem like an album of standards. However, the spooked stoned alienation of Subterranean Homesick Alien and The Tourist felt unprecedented at the time \u2013 staging posts in a journey towards an uncertain, depersonalised future. Elsewhere, their ability to pluck peerlessly moving melodies out of the ether seemed to peak with Let Down, No Surprises and Lucky.<\/p>\n KEY TRACK:<\/strong> No Surprises<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][et_pb_image src=”https:\/\/flatplan-plus-content.s3.eu-west-1.amazonaws.com\/wp-content\/uploads\/sites\/7\/2025\/12\/Kid-A.jpg.jpg” title_text=”Kid-A.jpg” _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″][\/et_pb_image][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n 1. Kid A <\/b>(Parlophone, 2000)<\/p>\n [\/et_pb_text][et_pb_text _builder_version=”4.20.4″ _module_preset=”default” hover_enabled=”0″ global_colors_info=”{}” theme_builder_area=”post_content” sticky_enabled=”0″]<\/p>\n An album that effectively redrew the parameters of the rock album for the new century. The padded cell\u00a0ambience of Everything In Its Right Place and Morning\u00a0Bell seemed customised for these obsessive-compulsive times \u2013 as did the\u00a0fin de si\u00e8cle\u00a0night terrors of The National Anthem and Idioteque. And throughout it all \u2013 notably on How To Disappear Completely and Optimistic \u2013 Radiohead reminded us that their electrifying live synergy was still intact. The last time a mainstream rock group released such an experimental record and maintained their commercial stock was in 1968 and\u00a0The White Album. Therein lay the scale of\u00a0Kid A\u2019s triumph.<\/p>\n KEY TRACK:<\/strong> Idioteque<\/p>\n [\/et_pb_text][et_pb_divider color=”#111111″ module_class=”custom-divider” _builder_version=”4.20.4″ _module_preset=”default” custom_margin=”||0px||false|false” custom_padding=”||0px||false|false” global_colors_info=”{}” theme_builder_area=”post_content”][\/et_pb_divider][\/et_pb_column][\/et_pb_row][\/et_pb_section]<\/p>\n","protected":false},"excerpt":{"rendered":" MOJO’s top ‘Head cases rank and rate every album from the 21st century’s most important band.<\/p>\n","protected":false},"author":13,"featured_media":3686,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_acf_changed":false,"_et_pb_use_builder":"on","_et_pb_old_content":"","_et_gb_content_width":"","_lmt_disableupdate":"","_lmt_disable":"","footnotes":""},"categories":[1],"tags":[],"class_list":["post-3692","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-uncategorized"],"acf":[],"modified_by":"akindell","_links":{"self":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3692","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/users\/13"}],"replies":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/comments?post=3692"}],"version-history":[{"count":3,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3692\/revisions"}],"predecessor-version":[{"id":3697,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/posts\/3692\/revisions\/3697"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media\/3686"}],"wp:attachment":[{"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/media?parent=3692"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/categories?post=3692"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/flatplanplus.io\/mojo\/wp-json\/wp\/v2\/tags?post=3692"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
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