Radiohead Quotes
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I'm always happiest trying new instruments - and honestly enjoy playing, say, the glockenspiel with Radiohead as much as I do the guitar. I think regular touring has forced me to play the guitar more than anything else, which is why I'm probably most confident playing that. And whist I'd be lost if I couldn't play it too, I dislike the totemic worship of the thing... magazines, collectors, and so on. I enjoy struggling with instruments I can't really play.
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When we first recorded Fake Plastic Trees it was terrible! It sounded like Guns 'n' Roses. It was awful! It was like loud guitars... you could envisage one of these dreadful hilltop, Grand Canyon-esque videos. It was long hair flowing.
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He's an amazing musician. He's from a totally musical background, not what I've come from at all; I'm completely self-taught. It probably shows in Jonny, he knows all the theory. But what's great about him is he's got that feel. I've never been interested in lead guitarists. He must be the only lead guitarist I like. I don't get Clapton. I don't get any of that stuff. But he's got an amazing feel, an amazing musicality.
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It would've made more sense had we brought another record out between this one and the last one. If you paid close attention, the b-sides, like "Lucky" and "Talk Show Host" have documented that passage.
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Everything I know about pop culture I know from 'The Simpsons,' and they say the Grammys aren't very good.
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You should approach technological things in a nostalgic way.
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I don't think anything's underground anymore. And I think that's a good thing. Everything is up for grabs.
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We try to treat everywhere we play differently and that's really important.
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People will have MP3s of every Miles Davis' record but never think of hearing any of them twice in a row - there's just too much to get through.
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A drunken evening that spawned probably my favourite track. Thom's one-take vocal crouching in the corner was particularly memorable, he may have been unable to stand. Love colin's bass groove thing on this.
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I can remember soundtracks that you just can't separate from the film - It's just so intertwined, so important. Like the Hitchcock ones where they kind of inform each other and become this larger thing as a result.
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Limits are very important.
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I think the biggest problem we have is taking too long over things. Not in terms of getting it right, but sometimes we do things quickly that are really good.
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Everything I do feels like It's going to end up being in Radiohead.
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When people say you're doing something radical in rock or dance music, I'm not sure how special that is. What we do is so old-fashioned. It's like trying to do something innovative in tap-dancing.
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Anything that has more of Graham's guitar playing, I'm bound to like.
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As I kid, I was always jealous of the music that my favorite bands had written - but not really of how they played. So I'd daydream about having written songs, and this way above being able to perform them.
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In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
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Thom comes in with lots of lyrics, a melody and chords, and usually he strums it on acoustic guitar. we then take it from there and beat it up and arrange it. sometimes they need a lot of arrangement. sometimes they need absolutely nothing. sometimes thom will present a song and it's so obvious how it should be done. those are actually the hardest to do - the ones where we have free scope and it can go in any direction are the easiest ones to do.
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Rock music is quite big in India - but it mostly just replaces all the intricacies of Indian rhythms and Indian melody with lumpen rock drumming and power chords.
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Presented with a song like Exit Music, It's impossible to know what to add without actually making it worse. How can you play along when It's already there?
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My songs are my kids. Some of them stay with me, some others I have to send out, out to the war. It might sound stupid and it might even sound naive, but that's just the way it is.
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If I think about music in the future, I imagine it often as not involving electricity, in some dystopian, post-apocalyptic future. And that's what I get from Penderecki: people making music by taking these instruments out of boxes and playing them. That's a very bizarre and modern thing.
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We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
