When Words Fail, Music Speaks. | Paranoid Android by Radiohead
"Paranoid Android" is a song by English alternative
rock band Radiohead, featured on their 1997 third studio album OK Computer. The lyrics of the darkly humorous song were
written primarily by singer Thom Yorke, following an unpleasant experience in a Los Angeles bar. At more than six minutes long and
containing four distinct sections, the track is significantly influenced by The Beatles' "Happiness Is
a Warm Gun" and Queen's "Bohemian Rhapsody". "Paranoid Android" takes its name from Marvin the Paranoid Android of Douglas Adams' The Hitchhiker's Guide to the Galaxy series.
Paranoid Android by Radiohead
From all the unborn chicken voices in my head
What's that...? (I may be paranoid, but not an android)
What's that...? (I may be paranoid, but not an android)
When I am king, you will be first against the wall
With your opinion which is of no consequence at all
What's that...? (I may be paranoid, but no android)
What's that...? (I may be paranoid, but no android)
Ambition makes you look pretty ugly
Kicking and squealing gucci little piggy
You don't remember
You don't remember
Why don't you remember my name?
Off with his head, man
Off with his head, man
Why don't you remember my name?
I guess he does....
Rain down, rain down
Come on rain down on me
From a great height
From a great height... height...
Rain down, rain down
Come on rain down on me
From a great height
From a great height... height...
Rain down, rain down
Come on rain down on me
That's it, sir
You're leaving
The crackle of pigskin
The dust and the screaming
The yuppies networking
The panic, the vomit
The panic, the vomit
God loves his children, God loves his children, yeah!
“Paranoid Android”, by Radiohead,
is a rather straight-forward song about isolation. However, because the
song uses abstract imagery and manages to tell two, overlapping narratives with
only one set of lyrics, the song is ripe for lyrical analysis. Literally,
this is a classic tale of insanity. Figuratively, and the meaning you’re
more likely to connect with, “Android” is a requiem for the outcast; for the
leftfield perspective.
The notion of wanting to get some
rest in a noisy environment is something we all can relate with, but the
outcast of “Paranoid Android” is pleading; begging to fall asleep,
because his head is filled with “unborn chicken voices”. This can seem
confusing until the line is read literally – imagine that there are actually
chickens inside this man’s head. “Unborn,” in this context, is a clever
way of saying “non-existent”; not actually real. He simply hears noises
in his head, and the syncopated call of a chicken is a perfect image to express
the chaos of auditory hallucination.
In another sense, these voices in
his head are not in his head at all, but actually the sounds of the world
around him (with which he feels such disconnect). The outcast cannot view
society as a screaming success because his senses are overwhelmed with the
literal screaming of the oppressed; the crack of the metaphoric whip, keeping
everyone at work (“the crackle of pigskin”); overwhelming gluttony (“the
crackle of pigskin” i.e. bacon); the panic of the chased; the vomit from those
who witness it all and of course, those too busy making money to care (“the
yuppies networking”). The outcast begs it all to stop, because he’s
simply trying to get some rest.
As if a nagging reminder to his
insanity and his disconnect, the promise of a peaceful sleep is lost; replaced
by literal paranoia (“What’s that?”). Already so broken-down, the only
way this outcast can cope is to escape to a dreamlike state; to imagine an
alternate reality where he is in command, persecuting everyone who has ever
wronged him (“When I am King, you will be first against the wall — where your
opinion is of no consequence at all”).
Unfortunately, due to what’s been
bubbling under the surface, what should be a pleasant daydream turns into a
manic episode. Rather playful, optimistic longing is replaced with
aggressive force. As if he’s shaking the collar of society itself, he screams,
“You don’t remember! You don’t remember my name!” Now, he’s in
control and is using his power to get back at his enemies – “Off with his head
now; off with his head!!”
Unfortunately, the mania subsides
and is replaced with a calming, static depression. He’s back to the real
world and his fantasy is just that – a fantasy. The difference is,
there’s no going back. Perhaps in the intensity of his manic episode, he
has broken a law or two, for now passersby are scorning and ridiculing him for
his insanity. “Off with his head now!!” is both a mantra yelled at
society and the actual response of society to the outcast’s madness.
A crowd draws and he’s told,
“That’s it now — you’re leaving,” but he refuses to give-in; instead fighting
back and running away (“the dust and the screaming”). The police presumably
catch him, but not before he is beaten (“the crackle of pigskin”), shrieking in
terror as the walls of his world cave-in (“the screaming”). All the
while, this is taking place in public, with businessmen and women rushing past,
far too busy making phone calls to stop and observe (“yuppies networking”).
It is here where Yorke sings with
a cruel jest, “God loves his children.” It is here where the literal
story of a man going crazy and the casual observations of the modern cynic
merge. In the literal narrative, this line is a delusional
self-assurance, muttered by the outcast as he’s hauled away. In the
figurative narrative, the cynical observer is mocking the idea of “God” with a
bitter sarcasm: “God loves his children,” as if to say, why would anyone Godly
waste their attention on this hellish world? Regardless atheistic
implications, this line is important because it shows how both the outcast and
the observer have lost all hope.
In the chaos of literal arrest
(or the figurative personal disconnect felt towards society), the outcast gives
in. The reason we know the outcast is too tired to fight is because the
song starts off with “I’m trying to get some rest,” as if to imply should our protagonist
not recover soon, there will be no will to continue. With no hope in
sight, the outcast proclaims, “let it all rain down on me — let it pour from a
great height, far up in the sky.” As if lithium had entered,
intravenously, into his bloodstream, our lonesome friend finds peace (even if
in defeat).
As if to justify the abstract
nature of this song, we hear a robotic voice chanting, “I may be paranoid, but
I’m not an android.” In other words, the outcast might have been seen as
eccentric; perhaps even paranoid for no reason, but at least he was feeling
something. The beauty of this song is that once you understand the
general narrative, all the abstract imagery can be applied to a multitude of
concepts, all seen from the observer / the outcast’d perspective. This
outcast is holding up a mirror to our world, but before he can even ask if
we’re okay with the resultant image, he loses his mind.