From Spotify and the Ringer, this is Dissect, long-form musical analysis broken into short digestible episodes.

Today we continue our season-long dissection of radio heads and rainbows.

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Our last episode, we tracked Radiohead's history from their origins as a high school band from Oxford to that one band who wrote Crepe, to the saviors of rock and roll, to the post-rock experimental frontiersmen.

Constantly attempting to outrun the labels and outside expectations placed on them.

Each new Radiohead album seemed to be a reaction to their last.

The Bens was an attempt to transcend creep and resulted in radio

head being labeled a Britpop band. Okay computer was an attempt to transcend the Britpop label and

resulted in being praised as the best rock band in the world. And Kidde Amnesiac was an attempt to and

Kidea Amnesiac was an attempt to transcend rock

music altogether. The difficulty of constantly reinventing themselves

combined with the band's obsessive self-scrutiny

created a toxic dynamic that nearly broke them combined with the band's obsessive self-scrutiny

created a toxic dynamic that nearly broke them every album.

To avoid this pattern, Radiohead forced themselves

to write and record 2003's hail to the thief quickly,

...