Editing OK Computer (section)

===Style and influences===
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| image1            = Miles Davis - 1986 (cropped).jpg
| image2            = Noam chomsky cropped.jpg
| footer            = The [[jazz fusion]] of [[Miles Davis]] (top, 1986) and political writings of [[Noam Chomsky]] (bottom, 2005) influenced ''OK Computer''.
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Yorke said Radiohead's starting point was the "incredibly dense and terrifying sound" of ''[[Bitches Brew]]'', the 1970 [[avant-garde jazz|avant-garde]] [[jazz fusion]] album by [[Miles Davis]].<ref name="LAUNCH"/> He said: "It was building something up and watching it fall apart, that's the beauty of it. It was at the core of what we were trying to do with ''OK Computer''."<ref name="Sutcliffe1999">{{citation
 | first = Phil
 | last = Sutcliffe
 | title = Radiohead: An Interview with Thom Yorke
 | magazine = [[Q (magazine)|Q]]
 | date = October 1999}}</ref> Yorke identified "I'll Wear It Proudly" by [[Elvis Costello]], "[[Fall on Me (R.E.M. song)|Fall on Me]]" by [[R.E.M.]], "[[Dress (PJ Harvey song)|Dress]]" by [[PJ Harvey]] and "[[A Day in the Life]]" by the [[The Beatles|Beatles]] as particularly influential.<ref name="IRVIN"/> Radiohead drew further inspiration from the [[film soundtrack]] composer [[Ennio Morricone]] and the [[krautrock]] band [[Can (band)|Can]], musicians Yorke described as "abusing the recording process".<ref name="IRVIN"/> Jonny Greenwood described ''OK Computer'' as a product of being "in love with all these brilliant records ... trying to recreate them, and missing".<ref name="MORAN"/>

According to Yorke, Radiohead hoped to achieve an "atmosphere that's perhaps a bit shocking when you first hear it, but only as shocking as the atmosphere on the [[the Beach Boys|Beach Boys]]' ''[[Pet Sounds]]''".<ref name="LAUNCH"/> They extended their instrumentation to include [[electric piano]], [[Mellotron]], and [[glockenspiel]]. Jonny Greenwood summarised the exploratory approach as "when we've got what we suspect to be an amazing song, but nobody knows what they're gonna play on it".<ref name="BAILIE">{{citation
 | first = Stuart
 | last = Bailie
 | title = Viva la Megabytes!
 | date = 21 June 1997
| magazine = [[NME]]}}</ref> ''[[Spin (magazine)|Spin]]'' said ''OK Computer'' sounded like "a DIY [[electronica]] album made with guitars".<ref name="Spin review">
{{citation
 | first = Barry
 | last = Walters
 | url = https://books.google.com/books?id=_uWz-QtMkI4C&pg=PA112
 | title = Radiohead: OK Computer (Capitol)
 | date = August 1997
 | access-date = 6 April 2020
| magazine = [[Spin (magazine)|Spin]]
 | volume = 13
 | issue = 5
 | pages = 112–13}}</ref>

Critics suggested a stylistic debt to 1970s [[progressive rock]], an influence that Radiohead have disavowed.<ref name="Sanneh">{{citation
 | first = Kelefa
 | last = Sanneh
 | author-link = Kelefa Sanneh
 | title = The Persistence of Prog Rock
 | url = https://www.newyorker.com/magazine/2017/06/19/the-persistence-of-prog-rock
 | date = 19 June 2017
| magazine = [[The New Yorker]]
 | archive-url = https://web.archive.org/web/20170612062331/http://www.newyorker.com/magazine/2017/06/19/the-persistence-of-prog-rock
 | archive-date = 12 June 2017
| url-status = live}}</ref><ref name="progeny" /> According to Andy Greene in ''Rolling Stone'', Radiohead "were collectively hostile to seventies progressive rock ... but that didn't stop them from reinventing prog from scratch on ''OK Computer'', particularly on the six-and-a-half-minute 'Paranoid Android'."<ref name="Rhapsody in Gloom" /> [[Tom Hull (critic)|Tom Hull]] believed the album was "still prog, but may just be because rock has so thoroughly enveloped musical storytelling that this sort of thing has become inevitable."<ref name="Hull"/> Writing in 2017, ''[[The New Yorker]]''{{'}}s [[Kelefa Sanneh]] said ''OK Computer'' "was profoundly prog: grand and dystopian, with a lead single that was more than six minutes long".<ref name="Sanneh" />