Let me know what you guys think about all of this, I don't know what to think.

THE EPIC. (???????)
Odin's favourite Radiohead playlist?
A Post-Modern "Canterbury Tales" ?
I Might Be Wrong.

"“The meaning behind all of this is right in front of our faces, we’re just overlooking it. [Thom] has been expecting an article much like this one for a couple of years, as have I. But I’m willing to wager he’ll have fun waiting a few more. On the other hand, it seems to annoy him that no one ‘gets it’ yet, given the mountain of clues.”

In feeding my curiosity, and love of Radiohead, I have followed some of my own interpreted "clues", along with some facts. Before you call me out, at least give some of this a chance.
Thank you.
I am doing this for myself, as much as for the fans. If this starts catching on, then maybe we can figure something out as a unit.
(And yes, I may have gone a little crazy with it before hand, but I'm telling you, there are numerous connections between Radiohead's music, and Pink Floyd's music, maybe just to **** with my head like it has...but that is for another time, and to ensure that I don't contract some sort of lunacy.
I don't know the exact specifics of the Cross-fading, but I believe it works out the best from let's say 6.1 or .2 to 10. Whatever the golden ratio is, to 10. If you don't know the story between the golden ratio, and its appearance at the moment the backing vocals say "INNNN RAINNNBOWS" on reckoner, you ought to look it up...very interesting.

Anyways, onwards:

Like Spinning Plates --> Nude.
You probably know that the music in LSP is played in reverse, and you can hear it yourself on the internet, or do it yourself on your computer. This is a true fact. Thom also had to sing as if he were singing backwards, so when reversed...you hear his lyrics. Damn cool.
Nude's backward intro is the same as the outro, but set forward. I know that Sigur Ros had done something similar, except they may have made a palindrome out of it. ANYWAYS,
Just listen to this transition to hear how legit it sounds. I'm just saying that, I'm not telling you that they were meant to sync.

Reckoner sounds really good going into Electioneering as well, due to the percussion similarities, but thats all I got for that.
Electioneering --> House of Cards.
The sustained notes/noise on the outro of Electioneering is the EXACT same noise that comes through on House of cards 8 seconds in (except soaked in reverb etc.)
Thematically as well, these songs flow very well together: Electioneering needs no explanation, just read the lyrics. House of Cards isn't as blunt.. but look at it like this,
I don't want to be your friend, I just want to be your love". Think of how that may apply to perhaps A Certain President or ([Hail to the]"Theif") basically ****ed and ad/inadvertently "****ed and chucked his nation." ..."The infrastructure will collapse" The theme of infidelity is also obviously apparent.
Definitely check this one out.
In Limbo --> All I Need
This one has a fantastic transition as well, the white noise and "other noise" mesh perfectly into each other.

Exit Music (For A Film) --> The Bends
You certainly don't need to crossfade, for this connection to be painfully obvious of the connection! The white noise, the other noises, the voices...it all matches wondefully.

Knives Out --> Dollars and Cents.
I realize they are on the same album. Yes. (Who knows, there may be 2 songs on every album that mesh extremely well in alternate order...we know that OKC certainly comes full circle, don't we.)
Have you realized how truly similar they are to each other? Perhaps Morning Bell in the middle distracts the listener a tad. The guitars, drums, bass, and tempo are all EXTREMELY similar. Check that out.

AT LEAST HEAR THIS OUT: take a moment to realize that if Radiohead has done this, it wouldn't be as difficult as you think. We already know they put a lot of time into their track orders, they have made sure to let us know this. If you actually listen to the outro of Exit Music, and the intro of The Bends, you will see that they use the same sounds, same noises, all that. Which leads me to believe, that if they have constructed this Epic, they Decided to do it during the OKC sessions. It wouldn't be hard, with all the EP's, and the In Rainbows disk 2, basically all of the post Bends work could be constructed by the band to accomodate the earlier tracks as well. I hope that makes sense. Think of Blow Out on Pablo Honey, and how there is that slow attack of high pitched noise. I'm pretty sure you hear that noise at the end of a more recent album, but I haven't gotten that far. Also, the jazzy guitar stylings on that album are very reminiscent of some of the more recent tracks.
I Will (No MANS land), besides being a title of a Beatles track, is more or less a lullaby. I think it is safe to say so: (perhaps songs to oneself) "I will lay ME down, in a bunker underground" "I won't let this happen to my children...."Little baby's eyes"...
This reminded me of Motion Picture Soundtrack's omitted lyrics:

Original last verse not included on Kid A:

Beautiful angel
Pulled apart at birth
Limbless and helpless
I can't even recognize you
I think you're crazy, maybe (x6)

I will see you in the next life

That sloping down of the lyrics made me think of a Pyramid, if it sloped down the other way as well...which led me to thinking down is the new up, if one were to actually scale a perfect triangle. This led me to think of all sorts of crazy possibilities, I'm not saying they are real, but imagine if this is how it played out...many of the songs I found transitional links in, the titles slope up or down in a similar fashion as you see in the omitted lyrics. This could add to what Thom had said about these things being "right under our eyes."
Also, with the information on the Golden ratio, and how it occurs during "INNN RAINNNNBOWS" on Reckoner, and "Just because you feel it, doesn't mean its there" on There There, these speculations gain a BIT more ...credibility, but still as speculations at the moment of course. Also, some other sets of segueing tracks I have found all have the same spacing on ones play list, like this:

Karma Police
Last Flowers
No Surprises

(this could add to the whole prism theory, as these tracks would be the spaces in between them on your playlist.
Also, as you all know, all of the tracks on
Hail to the Thief Contain ( Additional story telling titles in brackets. ) 15 Step
All I can say is set your crossfade to 7, and turn it up. This transition sounds AWEsome.
I can't vouch for the fact that it is intentional, but it flows so goddamn well.

Speaking of 15, i've yet to look into the relations between the number and its use the previously stated song, as well as in Just - "15th floor" , and in Climbing Up the Walls "15 blows to the back of your head, 15 blows to your mind".


That's all for now, I'll continue my endeavors later, and with more albums.
PIANO CHORDS AT THE END OF KARMA POLICE SYNC IN PERFECTLY WITH THE PIANO CHORDS OF IR2's LAST FLOWERS. PERFECTLY (depending what your crossfade is set at, even if it is not set so they overlap each other, you can tell that something is going on here.
Listen to these 3 tracks in complete succession. You will hear many structural consistencies and similarities.
Last flowers had been previously written, but even still...
the boys in the band haven't told us how amazingly those 2 curious chords from KP sync in with LF's intro.
IF YOU TEST ANY OF THESE, you should probably try this one first. I would love someone to explain this "coincidence". I'm not saying its definitely not, but its not what I am obviously leaning towards.

Also, I'm not sure how known this fact is known, but hopefully IS know.
Through my dinking around, you will see that

GO SLOWLY ---IS--- THERE THERE. (Reconfigured, and slowed down, with alternate lyrics of couse)

Prove this statement wrong in order to prove me right.
I think it is safe to say there is no denying this statement. Listen to them both in their entireties. Its all there, and its pretty cool...considering There There is one of my favorites as well.

- - - -ALSO - Listen to the intro of National Anthem, the 1st 2 seconds, now turn up your speakers and listen to the 1st 2 seconds of Go Slowly. Ta Da. Exactly the same, yet slowed down.


Coming in at 7:00 minutes, (Note, 7.)
Motion Picture Soundtrack's Outro contains the largest amount of "black noise" in Radiohead's collection, at least LPs. The reprise after the initial fade out of the song could signify some sort of trancendental transition in this "story" The "black noise" that follows after is still one of the longest blank moments in running time, for a Radiohead song, lending to the death/suicide/dream/whatever theme that it may tie into, for this "Epic".


I Will, Faust Arp, along with 2(!) Morning Bells, along with the numerous tracks that deal w/ "dreams", sleeping, and awakening...there is much to work with for building such a story.

'wakey wakey'. "Go To Sleep', "This is just a nightmare, soon i'm gonna wake up" [4 Minute Warning] etc. etc.

Also note how "Sleepy" Thom sounds in "You and Whose Army" , along with the noise he makes at the very beginning of the song. I know there is another song where Thom uses this style of slurred singing, in the same sense as Paul McCartney has unique "Lady Madonna" voice which appears in Abbey Road once as well. Note. The noise made by Thom on YaWA sounds like it could be him "resurfacing". Perhaps from a bunker, perhaps from the realm of the "Weird Fishes".


It shouldn't be hard to see how these tracks would fit nearby Videotape in this "Grand scheme"


Also, lets not forget about the track Kid A, *and the "baby" noises at the end of the track.
maybe this is another example of where 2=1 ie There would be a track to signify some sort of conception before "Kid A".

Also, think of instrumental tracks like Treefingers, which I suspect tie into other tracks as a nice seque.


Backdrifts --> 15 Step
All I can say is set your crossfade to 7, and turn it up. This transition sounds AWEsome.
I can't vouch for the fact that it is intentional, but it flows so goddamn well.

Radiohead thread in A&I.
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