On Fitter Happier, Thom takes a backseat in favour of ‘Fred’ – the robotic voice used by Apple Macintosh machines in the ‘90s to convert text into speech – reeling off a host of mundane ways one could live life better, including everything from eating well to driving safely and being kinder to insects. That’s embodied in one of its most striking moments, also one of its most unconventional. To say that it’s a collection of songs ahead of its time is an understatement. All through the record there’s prescient themes of mental health and a litany of societal ills, predicated on the idea of the modern world hurtling rapidly towards ruin.
And those are just the first three songs. Se Encounters Of The Third Kind-style desire for abduction, thanks to feeling othered, and the failure to fit in. Subterranean Homesick Alien speaks of a Clo Mournful lead single Paranoid Android deals in themes of insanity and violence, mixed in with some anti-capitalist sentiment. Opener Airbag revisits Tom Yorke's fear of cars having survived a crash a decade prior. Morbidity and mortality threaded all through the record lyrically. “I got the completely mistaken idea that white was the colour of death,” Donwood reflected in 2017. Nigel Godrich, however, laughed off any suggestions of supernatural goings on as all a bit “Scooby-Doo.”Īs the new songs began to coalesce, Yorke and artist Stanley Donwood worked to created the album’s distinctive blue-and-white artwork, pulling together digital collages of found items, scribbles, warnings, symbols and abstractions in English and Esperanto, with everything looking slightly smudged, foreboding, and evocative all at once. It felt like someone was standing next to me.” “I got really spooked while recording the vocals for Exit Music (For A Film).
“The ghosts would talk to me while I was asleep,” Yorke claimed. Radiohead's vocalist attested to the eeriness personally. We got people who specialise in that kind of thing to wander around the house.” “People had claimed they had seen what they thought was my mother in a big blue dress walking through walls to go into the bathroom,” Seymour told writer Andy Greene. Far from the relative spit and sawdust of the apple shed in Didcot, these sessions were recorded in a ballroom, surrounded by Medieval tapestries and wooden everything, capturing the sound beautifully.
Catherine’s Court, an Elizabethan manor house in Bath, owned by actress Jane Seymour, to resume recording. Days after the Alanis tour finished, the band entered St.
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