It opens with piano and strings, and a slight slip of an acoustic guitar way off in the background. The piano reverberates like the one your grandmother probably has, or used to have. There are some other noises, probably a lot of them; one of the album’s most appealing features is the almost maniacal attention that’s been paid to even the tiniest of details. The strings threaten to surface, but don’t; the other noises skitter about but then cease to be, and there’s nothing but the piano again, and Thom Yorke’s falsetto.

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