Radiohead Quotes
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Well, I've been reading a lot about the fifty years since the Second World War, about Western foreign policy and all that. I try not to let it get to me, but sometimes I just think that there's no hope.
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We don't hate the media, it's just that when there's too much of it we get bored, but it happens to every human being. I don't think we even hated the media by the time that movie was made. We were just tired.
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There is always some universal proportion, but along with that there are some places where special things happen. Ireland, for example. I've always felt it's interesting to play there. Maybe they just drink more than anybody else.
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It's no longer unusual for real avant-garde composers to have been in a band, and for bands to be interested in a wide range of music. Look at how artists like Aphex Twin are influenced by Nancarrow and Stockhausen.
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We are a weird bunch, we are very disparate.
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We are different people - you get a different take on the band whoever you speak to. Somehow, at the end of it, it goes through the filtering process and out comes the Radiohead thing.
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It's really weird to be playing chords again. Haven't played chords for a long time. I realised I haven't played chord changes since OK Computer and stuff like that.
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I suppose subconsciously I was thinking in terms of having the scale of it matching the scale of the images. Hence the sort of string quartet, jazz band and electronic stuff.
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Not in the mornings, I'm always so tired in the morning.
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In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
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(on his inability to read music) 'If someone lays the notes on a page in front of me, it's meaningless...because to me you can't express the rhythms properly like that. It's a very ineffective way of doing it, so I've never really bothered picking it up.' source
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There was this discussion to know how long the human ear was really receptive to the music. A 74 minute CD is too long. We thought about making two CDs, 35 minutes each... But the songs need to breathe.
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Obviously, it was a very conscious decision not to go down the same route we'd travelled before. In retrospect I don't think OK Computer sounded that much different to The Bends but this one does - it's a lot more textural and unlike anything we've done before.
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I feel like, as musicians, we need to fight the Spotify thing. I feel that in some ways what's happening in the mainstream is the last gasp of the old industry. Once that does finally die, which it will, something else will happen.
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I'm happy to write 10 times too much music.
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(about people's image of him) 'I think that has a lot to do with the expression that's on my face. People are born with certain faces, like my father was born with a face that people want to hit. (laughs) source
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So we are not doing the traditional album, tour, album, tour, album, tour anymore. We're going to tour when we want to, regardless of whether we've got a record out.
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I trust microphones, speakers and recordings less and less, and no longer buy into the idea that I can recreate at home, or in my earphones, the experience of hearing live acoustic instruments. The orchestra is already a set of speakers that react differently to each player, each room and each concert - it's that high level of uncertainly and unrepeatability that I like. The music is just soaked into the walls of a room straight from the instruments - and it's a one-off deal. The alternative - left speaker, right speaker - is kind of a compromise.
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I grew up believing that I was fundamentally powerless.
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As soon as you impose Western chords on an Indian scale, something great collapses.
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'They're dangerous people, and what's really frightening is that they don't know it, they don't see themselves as dangerous... they see the danger elsewhere. The danger is always elsewhere. How convenient.' source
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When I first started drumming, when I was 14 or 15, I started writing songs. I wrote for a couple of years, but when we started 'Radiohead' it became very apparent quite quickly that I just wanted to concentrate on the drumming.
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It's kind of not about the quality of the art, as much as this is what I love doing and I'd have a worse time doing anything else. That's kind of as far as I think in terms of philosophy.
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In 1994 we taped everything on video, in 1995 we bought Powerbooks. Our next step on the techno-superhighway is 'the polaroid'. If we go on like this, we'll be painting up our tourbus with charcoal next year.
