This is "Kid A," Radiohead's latest contribution to modern rock. And I don't use the word "contribution" lightly because everything that this band has produced since the slightly immature days of "Pablo Honey" has been exactly that-an extremely noteworthy contribution. Tortured and thoughtful, dreamy yet doom-like, their records are consistently brilliant, ambitious little gems of genius and art, right down to the liner notes.

Due to Radiohead's undeniable propensity for the bizarre-the conceptual understandings of the barely describable-the band has always received critical acclaim, but until recently Radiohead has fallen short by commercial standards.

1997's "OK Computer" changed all that. Which brings us to the present: a 10-track, noisy, ethereal, nebulous, strange prog-rock album.

Yes, that's right. Prog-rock. In a progression that seems simultaneously logical and absurd, "Kid A" is an opus of a different kind.

Foreshadowed by the earlier "Paranoid Android," what we have here is the most ambitious light-show friendly prog-rock since the heyday of Pink Floyd. The experience is ambiently abstruse; it seems as though everyone's favorite creep, lead singer Thom Yorke, has decided to throw such traditional musical elements as-oh, song structure, guitars and lyrics out the window in favor of eerie noises and stunning stratospheric suites.

There's no question that this record, like the last three, is a product of genius. There's no question that this record is admirable. The question for me (obviously-I'm reviewing the album) is this: what the hell do I make of it?

Here is where I have to pack my bags and take the road less critically traveled. In all honesty, I miss the old Radiohead. I miss the screaming guitars and the angst-ridden lyrics. I miss the sensical ramblings of Yorke (as opposed to the more nonsensical ramblings found on "Kid A": "laughed until my head fell off," he whines on the nearly-electronica "Idioteque").

Now, because I stood in line at Newbury on a cold midnight in October, I have in my possession one of the most obtuse and artsy things that rock has seen in a while. It's what I don't seem to have in my possession that bothers me. Apart from the subtly alt-rock "Optimistic," none of the songs on "Kid A" really showcase what made this band great.

Upon listening for the first time, I couldn't help wondering where on earth did they hide guitarist Johnny Greenwood during the soaring instrumentals? Then I remember, oh: he does get a chance to cut loose on noise.

Generally, the record, as I said, is great. Artistically fabulous, but commercially questionable. I'm not calling for Radiohead to regress as a band, but clearly this is the next crucial step in their sometimes-languid (they average a two year break between albums) maturation as musicians.

So, Thom Yorke, I still salute you. I'm just understanding you less and less these days.