OK COMPUTER

While not their best album, the 1997 OK Computer eventually classed Radiohead as a prog band. For a lot of prog experts this turned out to be a hard nut to crack: by considering OK Computer prog, these people faced the uncomfortable task to define prog once again, and for many it is hard to admit that "prog" might mean something else than the definitions tagged with the 70's prog.

Firstly, prog compositions of the turn of the millennium didn't necessarily last a quarter of an hour anymore. Secondly, the works might not be multi-movement, multi-layered symphonic pieces, and thirdly, they might even be loved by millions of people who honestly believe "prog" is an ancient swearword.

Radiohead's progressivity isn't in any of the first two aforementioned, but rather in their ability to combine several styles into a very original whole, that doesn't sound like practically anything before them. In that sense they achieve what The Beatles did during their time, that is, showing the way to other, possibly in some ways even more adventurous bands. Thom Yorke's highly personal lyrics and vocals are as necessary part of Radiohead's timbre language as is Jonny Greenwood's guitar sound. The icing of the cake is the wonderful studio production that makes OK Computer such a unique effort, along with a few absolute masterpieces of modern rock music, such as Paranoid Android, Subterranean Homesick Alien, Exit Music (For A Film), Karma Police, Lucky and The Tourist.

If I should name one flaw about this album, then it might be the somewhat pretentious cover art, but then isn't that the tightest proof of prog, pretentiousness?