Radiohead explain the story behind the creation of its Kid A Mnesia Exhibition, out today on PS5

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Things kept happening…

To mark the 21-year period since the eviction of Kid A and Amnesiac from a converted barn in the Oxfordshire countryside, we have lived in a world that we have created…something.
We are not sure what it is.


To begin with, when we first started thinking about it, our intention was to build a physical exhibition/installation in a central London location.

It was going to be a giant red construction made by welding shipping containers together, constructed in such a way that it looked like a ferocious spacecraft crashed into the Victoria and Albert Museum of Classical Architecture in Kensington Is.

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This stunning steel carapace will be inserted into the urban fabric of London like a snow picket at Trotsky. Jumping in the gray English sky. And then – being manufactured from shipping containers – we can ship it all over the world… New York, Tokyo, Paris…

But then we couldn’t fit it in without the collapse of parts of the museum building in Victoria and Albert.
So we switched locations – now it will look like it’s bumped into the side of the Royal Albert Hall.
But Westminster Council did not like the idea in the slightest.
And then Covid gave the ultimate destruction.

Our dream was dead.
Until we came to our senses…
It would have been better if it didn’t actually exist.
Because then he did not have to follow any general rule of an exhibition. or reality.
much better.


With Nigel Godrich we have been working on this for almost two years, through lockdown, self-isolation and many very long intermittent Zoom calls.
We worked with Shawn Evans, a talented video/computer artist who directed it with awe-inspiring dedication and energy, theater set designer Christine Jones and game developers [namethemachine] And arbitrarily good productions.
And finally persuading Epic Games to help us bring it to the world.

We had a guiding principle, visually.
No new work.

Because … there was already a lot of it.

like really.

Like a really crazy amount… you’ll see.

Everything we have built is directly something we made 20 years ago in one way or another.

And we had all the multitrack recordings from the album so we were able to reconstruct the audio from the original elements in a new controlled space that just wasn’t stereo.
That was a lot of fun.

Working with something as strange as a long Zoom call with a large team of technicians across the globe has been one of the weirdest experiences we’ve ever had.
Unreal in every sense of the word, especially within months of almost complete human isolation.
In those empty days…
A little Minotaur was sitting on one shoulder saying ‘This is so crazy. That’s never going to happen’
And the other shoulder was sitting on the other shoulder and saying ‘Oh yes. this is.’
What we’ve made is… it’s something like Kid A and Amnesiac’s mutant re-engineering.
But now that is enough. Sufficient!!
It’s all yours…

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