Radiohead and their producer,
Nigel Godrich, recorded
Amnesiac during the same sessions as their previous album,
Kid A, released in October 2000. The sessions took place from January 1999 to mid-2000 in Guillaume Studios in Paris, Medley Studios in Copenhagen, and Radiohead's newly built studio in Oxfordshire. The drummer,
Philip Selway, said the sessions had "two frames of mind ... a tension between our old approach of all being in a room playing together and the other extreme of manufacturing music in the studio. I think
Amnesiac comes out stronger in the band-arrangement way." The sessions drew influence from electronic music,
20th-century classical music, jazz and
krautrock, using synthesisers,
ondes Martenot,
drum machines, strings and brass. The singer,
Thom Yorke, said Radiohead split it into two albums because "they cancel each other out as overall finished things" and came from "two different places". He felt
Amnesiac offered a "different take" on
Kid A and "a form of explanation". The band members stressed that they saw
Amnesiac not as a collection of
Kid A B-sides or outtakes but an album in its own right. Yorke said the title was inspired by a
Gnostic belief that the trauma of birth erases memories of past lives, an idea he found fascinating. Radiohead disabled the
erase heads on the tape recorders so that the tape repeatedly recorded over itself, creating a "ghostly"
tape loop, and manipulated the results in
Pro Tools. Deciding that the arrangement did not fit "True Love Waits", Radiohead used it to create a new track. Radiohead also used Auto-Tune on "Packt Like Sardines in a Crushd Tin Box" to process Yorke's vocals and create a "nasal, depersonalised" sound. It was influenced by the guitar work of
Johnny Marr of the
Smiths. Yorke said "Knives Out" did not depart from Radiohead's earlier style, and "survived because it was too good to miss". Dismissing this recording as "dodgy
Kraftwerk", Radiohead reversed it and created a new song. Yorke said: "I was in another room, heard the vocal melody coming backwards, and thought, 'That's miles better than the right way round', then spent the rest of the night trying to learn the melody." For the final track, "Life in a Glasshouse", Jonny Greenwood wrote to the jazz trumpeter
Humphrey Lyttelton, explaining that Radiohead were "a bit stuck". Lyttelton agreed to perform on the song with his band after his daughter showed him Radiohead's 1997 album
OK Computer. According to Lyttelton, Radiohead "didn't want it to sound like a slick studio production but a slightly exploratory thing of people playing as if they didn't have it all planned out in advance". The recording session lasted seven hours, and left Lyttelton exhausted. "I detected some sort of eye-rolling at the start of the session, as if to say we were miles apart," he said. "They went through quite a few nervous breakdowns during the course of it all, just through trying to explain to us all what they wanted." ==Music and lyrics==