Official Radiohead Thread - EOB x Paul McCartney, 3:30PM EST

'Cause I've been postin' and laughin' so long
That even my momma thinks that my mind is gone

Postby forest design » Sat Jun 29, 2019 7:49 am

On a first run through the track that made the biggest impression was Last I Heard (...He Was Circling the Drain)

Felt like there were a good amount of recycled ideas on here - backwards tape sounds as the backbone to the beat, the gurgling, cacophony of voices, the echoed vocals that trail off almost aimlessly, etc. I guess that's an uncharitable way of putting it - maybe rather it felt like there were lots of ideas he had before that he took in different directions, which is actually kinda cool to be able to hear - Radiohead songs filtered through a slightly different lens
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Postby terminus » Sat Jun 29, 2019 10:21 am

wasn't really feeling it until "twist"

good album. much better than the eraser, imo
we gotta be normal, we can't be weird
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Postby mego » Tue Jul 02, 2019 6:39 pm

great news everyone! i'll be revisiting ALL solo Thom releases today then posting a FULL RANKING of Radiohead and Thom solo albums COMBINED later today
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Postby mego » Tue Jul 02, 2019 10:29 pm

Kid A
OK Computer
Amnesiac

TKOL
Anima
In Rainbows
Tomorrow's Modern Boxes

HTTT
A Moon Shaped Pool
Amok

The Bends
The Eraser
Pablo Honey
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Postby mego » Tue Jul 02, 2019 10:32 pm

pretty hard to choose between HTTT and AMSP actually. i see those albums flaws as really different because HTTT is very uneven and has some songs i really can't get into but some i really love while all of AMSP is nice enough but there are no standouts.

i can't really rank Susperia as it doesn't feel like a head release. rightly or wrongly, i can't really think of anything as part of the 'headverse when thom's vocals aren't a big part of it.

if i included b-sides then amnesiac would be above OKC
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Postby tricksforchips » Tue Jul 02, 2019 10:39 pm

I wish that PTA music video was longer.
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Postby Fine Wine » Tue Jul 02, 2019 11:40 pm

This is super fucking good I listened maybe 20 times this week and I barely give a shit about Radiohead in 2019
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Postby Fine Wine » Tue Jul 02, 2019 11:41 pm

The only thing that feels "recycled" is the kids "yaaaahh" sample from in rainbows which is, y know Literally recycled
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Postby kid8 » Wed Jul 03, 2019 1:42 am

i finally watched it with a group of friends, since for some reason they only think i listen to radiohead and nothing else, and we all loved it.

the choreography was dope, the cinematography, top notch, the theme is expected but universally relevant.

the experience is beautiful.
*FOREIGN CONTAMINANT*
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Postby Milquetoaster Strudels » Wed Jul 03, 2019 6:14 am

Love this album, love the PTA joint

Listening to Dawn Chorus at the airport is a great experience, would highly recommend
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Postby Grand Epic » Wed Jul 03, 2019 11:33 pm

AMSP has about four or five standouts.
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Postby Fine Wine » Thu Jul 04, 2019 12:26 am

I actually don't care much for dawn chorus if I can be objective
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Postby RIXX » Thu Jul 04, 2019 4:39 am

I didn’t really care for it that much either until watching it in the context of the PTA film and now i keep replaying it, it’s beautiful
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Postby RIXX » Thu Jul 04, 2019 4:39 am

Thom boy how do i fall madly in love with a supermodel too
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Postby ripersnifle » Thu Jul 04, 2019 5:48 pm

i'm very nostalgic for HTTT as it was the first record that came out when i was a fan. had the cover art as a shirt from WASTE, etc.
actually feel like it has aged pretty well.
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby mego » Thu Jul 04, 2019 11:51 pm

I remember queuing up at HMV at midnight for HTTT. St Anger was released the same night. So many excited people full of hope and dreams
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Postby Swelling Itching Brain » Fri Jul 05, 2019 2:53 am

mego wrote:I remember queuing up at HMV at midnight for HTTT. St Anger was released the same night. So many excited people full of hope and dreams

Heh I was there too
I bought deluxe thief and my buddy bought Metallica and regular thief
My listening experience in balanced mode reveals the great depth of EARTH
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Postby marble » Fri Jul 05, 2019 3:08 am

the dawn chorus segment during the PTA short is S A D D fuck
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Postby mego » Sun Jul 21, 2019 2:23 pm

Two feet off the ground is great
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Postby antoine » Sun Jul 21, 2019 5:26 pm

Hmm. This album is pretty okay. Saw this at the record store and decided to listen to it finally altho his solo shit usually underwhelms. I like the packaging design for the lp better than the music, possibly.
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Postby antoine » Sun Jul 21, 2019 6:33 pm

mego wrote:The album is great but I think it’d be better if it ended with The Axe.

Yeah. This lp is pretty good and growing on me but he's done this kind of freeform electronica stuff to death. Kinda wish he'd do an acoustic album or something. Maybe the pop songs are designated head territory.
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Postby ripersnifle » Sun Jul 21, 2019 8:21 pm

i forgot this album came out
steakspoon wrote:sorry if sounds corny fellas but i'll always remember where i was when i heard my first big star song..the internet.
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Postby quilty » Wed Jul 24, 2019 12:27 am

jim o'rourke produce the next radiohead album you coward
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Postby bluemovers » Tue Jul 30, 2019 6:31 am

Edward Norton on How Thom Yorke Helped Shape New Film ‘Motherless Brooklyn’

“There’s a certain risk in making a bid to work with people that you love and admire. There’s always the risk because collaborations get messy and someone’s schedule can put pressure on a thing,” Edward Norton tells Rolling Stone. It’s especially daunting when that “someone” is Radiohead singer Thom Yorke, who the actor reached out to while writing his second directorial effort, Motherless Brooklyn.

“The last thing you want is to get at loggerheads about something you care a lot about and you invite someone you care and love in and it’s not working,” Norton cautions.

Norton – who wrote the script, directed and stars in the upcoming adaptation of the Jonathan Lethem novel about a Tourette’s-stricken detective in 1950s New York – has known Yorke since soon after Radiohead’s days opening for R.E.M. in the mid-1990s. The actor excitedly recalls attending Radiohead’s star-packed June 1997 gig at New York’s Irving Plaza the week before OK Computer was released. Norton’s presence at that concert is captured in the “+Guests” next to R.E.M. on the now-viral guest list; it was Michael Stipe who would introduce Norton to Yorke, igniting a two-decade friendship strong enough that Norton felt confident asking the singer to contribute music to Motherless Brooklyn.

“I didn’t presume he would do it,” Norton admits. “I wanted Thom to write an old-world melancholy ballad, and I wanted his voice to be the properties for [Norton’s character] Lionel’s voice … But I sort of said to myself, ‘Yeah, you and everybody else in the world.'”

Before production began, Norton emailed Yorke the request and the Motherless Brooklyn script. Two weeks later, the actor received a 6 a.m. email from the Radiohead singer with the song “Daily Battles” attached.

“He sent me this track of him on a piano singing it and I was sitting on the edge of my bed in the dark, crying from listening to this song,” Norton said of his response. “It’s so instantly heartbreaking and evocative of so many of the themes to the movie without being overly specific to them, but so much so, I thought the idea of daily battles that everyone is fighting, that you’re trying to rise up and out of, was so evocative that I went back into the script and put the phrase into a scene.”

The song impacted Norton so much, it became a unifying theme in Motherless Brooklyn, featuring in a crucial scene where Norton’s Lionel and a character played by Gugu Mbatha-Raw go to a jazz club. To transform “Daily Battles” into “a ballad done by Miles Davis in ’57,” Norton enlisted jazz great Wynton Marsalis to record a jazz arrangement of the song.

“We wanted the characters to dance to a ballad and we were trying to think what to do; we didn’t want to do a famous Miles Davis track or anything like that. So I played Wynton Thom’s song and he said ‘That’s a really pretty tune,'” Norton said. “Wynton, two days later, came back with this arrangement. And the first time Thom heard it, he kind of put his head between his legs and said ‘Jesus, fuck.’ It was really a wonderful moment, so we did this great weird thing of inserting Thom’s song into the Fifties.”

“I was sitting on the edge of my bed in the dark, crying from listening to this song”

Rolling Stone will premiere both Yorke and Marsalis’ versions of “Daily Battles” in the coming weeks, when the new trailer for Motherless Brooklyn arrives ahead of the film’s November release. The two versions of “Daily Battles” will also be released as a split seven-inch vinyl.

In order to create cohesion between Yorke’s “Daily Battles” and Marsalis’ instrumental jazz rendition – and root it further to the time period – Yorke recruited an unlikely musician to contribute horns: His Atoms for Peace bandmate Flea, who also laid down the song’s waltzing bass line to, as Norton says, “put [‘Daily Battles’] in the language of the same jazz instrumentation, piano and bass.” The song is itself reminiscent of Radiohead’s non-LP piano ballads like “Last Flowers” and “I Want None of This,” and the softer half of slow burners like “The Daily Mail” and “You and Whose Army?”

“People don’t really know this, but Flea went back to USC and got his masters on music theory on trumpet, and his dad was a jazz musician and he is a deep aficionado of jazz,” Norton says of the Red Hot Chili Peppers bassist. “So Flea came in and played the most beautiful, simple lines that add that dimension. And then Thom took some of them and reversed them and put them through compressors so that it’s playing backward and forward at the same time. It’s really beautiful.”

“Daily Battles” is a stark contrast to Yorke’s usual electronics-and-beats-laden solo work, as evidenced recently by his third solo album Anima. “I’ve had it on loop. I don’t even remember where it starts and where it ends anymore,” the actor said of Yorke’s new LP. “If you close your eyes and put it on, you can think it’s a 10-hour record because it keeps going.”

Norton also praised the “one-reel” Anima collaboration between Yorke and filmmaker Paul Thomas Anderson. “I haven’t seen anything like that that I can think of. That was like Thom meets Kafka meets Buster Keaton. It is a really beautiful, beautiful piece. I was knocked out by it,” Norton said, adding of Yorke’s acting abilities, “He might be more Chaplin than Buster Keaton. He’s got some slapstick chops.

“In my generation, no one has really captured longing in the heart and terror in the head like Thom,” adds Norton. “He has really grabbed the nerve of the fearfulness of the age that we’re living in and also figured how to create anthemic melody and total discord and chaos at the same time.”
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Postby bluemovers » Thu Aug 01, 2019 9:49 am

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Postby bluemovers » Wed Aug 21, 2019 9:12 am

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Postby Paul » Wed Aug 21, 2019 9:30 am

Wheres the funky bass solo
lordofdiapers wrote:Paul is worthy

guy forget wrote:Woah wait a minute Phish is dumb as hell
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Postby chairkicker » Wed Aug 21, 2019 9:33 am

daily battles is such a funny title
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Postby chairkicker » Wed Aug 21, 2019 9:34 am

Paul wrote:Wheres the funky bass solo

that's flea on brass
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Postby Paul » Wed Aug 21, 2019 9:42 am

A funky brass solo!
lordofdiapers wrote:Paul is worthy

guy forget wrote:Woah wait a minute Phish is dumb as hell
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