Thom Yorke’s hidden duet: The secret genius of Radiohead’s ‘Kid 17’
When Radiohead released OK Computer in 1997, they blew critics away with their alt-rock masterpiece. It was both expansive and intimate, with moments of pure euphoria sitting alongside paranoia and terror. Lyrically, the album explored alienation and capitalism, with lead vocalist Thom Yorke critiquing the troubling political climate and rapid consumerism.
However, following the record’s success and the band’s immense touring schedule, Yorke found himself severely burnt out and depressed. Unsure of what to do with himself, he eventually channelled his feelings into the band’s next album, Kid A. It was a drastic departure from the guitar-heavy sound of their predecessor, instead using an electronic palette and incorporating elements of free jazz, ambient music and classical composition.
Discussing the creation of the album, Yorke has stated that he turned away from traditional rock instruments because he doubted his abilities after the success of OK Computer. He explained to The Guardian: “When we finished the OK Computer tour, I had a sort of big block. I basically thought that was it. I thought that I wouldn’t be able to do whatever it is that I do again. We were still sort of working, but I had no faith in it.”
Yorke added: “I absolutely want no part in any suggestions that our decision to use some electronic instruments is some kind of lifestyle choice. It’s not. You use the instrument to help you get across a certain thing that you want to get across. That’s all.”
Kid A is now hailed as a modern masterpiece, garnering a cult following of devoted worshippers. However, due to the dedicated nature of Radiohead’s large fanbase, certain listeners have come up with a theory known as ‘Kid 17’. Essentially, if you play two copies of the album at the same time with a 17-second delay on one of the records, you’ll discover a rather fascinating listening experience.
When put into practice, some songs sound like pure chaos, such as the already-frenzying ‘The National Anthem’ or ‘Optimistic’. However, if you put a 17-second delay on the opening cut ‘Everything In Its Right Place’, you’ll get a strange yet enthralling duet between Yorke and himself. It works surprisingly well, with Yorke’s modulated voice dipping in and out of the soundscape with even more of an engulfing, emotional intensity than the original version. While the standard version is undoubtedly less chaotic, the ‘Kid 17’ version certainly makes for an interesting listen.
‘Motion Picture Soundtrack’ also works relatively well with the 17-second delay, with the repetition of Yorke’s emotionally devastating lyrics packing even more of a weighty punch. Moreover, the ambient ‘Treefingers’ syncs up pretty well, although you’d probably be better off just listening to the original recording.
Still, ‘Kid 17’ is undoubtedly a creative idea that speaks to the enduring influence of Radiohead’s music. Check out the ‘Kid 17’ version of ‘Everything In Its Right Place’ below.
