Jump to content

MSepol

Members
  • Content Count

    78
  • Joined

  • Last visited

About MSepol

  • Rank
    The Tourist

Profile Information

  • Gender
    Male
  1. So, we all know how Nigel Godrich is very much recognized as the "sixth" member of the band. From what I can see, a lot of that has to do with the way he works with the band, helping them materialize or think over some ideas or methods of work. But, as a producer, how do you think his work has impacted the band? What Radiohead songs to have his "signature" in some way or another? I've heard that the backing track of "No Surprises" was originally recorded at a faster speed, before it was slowed down so Thom could record his vocals, giving the song its melancholy and dreamy feel (apparently, this was Nigel's idea). From what I can tell based on other artists Nigel has collaborated with - Beck's "Sea Change" and AIR's "Talkie Walkie" come to mind - the songs and albums he produces tend to have this polished feel and ambience, sounding very pristine and crystal-clear. There's not a hint of sonic murkiness in everything he produces, apparently. So, again, what's your thoughts about this?
  2. Regardless of whether he's right or wrong, I hate the arrogant and condescending way he talked to Radiohead regarding this issue, as if they were just a bunch of 20-something mindless kids and not some of the most intelligent and talented musicians of their generation. And maybe Roger should have used some of that bile to make better albums during his post-Floyd period. I can't help but think of him as little more than a more educated Gallagher because of the way he's making a war out of this. I just hate this kind of attitude. Roger is (was) brilliant. Radiohead still are.
  3. What if Roger Waters is only doing all this to promote his new solo album?
  4. No, they are too sonically adventurous and lyrically downbeat to ever fit into that category. I could understand your friend trying to make a point about songs such as "Desert Island Disk" or maybe sweet sounding ones like "No Surprises" (even though the lyrics are quite bleak). They do have that calm and cool vibe, but even then, these are songs that move forward and develop in the kind of artistic way that safe artists usually associated with that category would never be able to do. So, no. Radiohead will never be adult-contemporary. Unless adult-contemporary stops being a safe, by the book, predictable radio "genre". I'd say Radiohead are introverted-contemporary. Hahahaha
  5. About the remastering of OKNOTOK: I've heard some people say the instruments now sound more "separated" from each other and that it's easier to distinguish what is happening in the mix, but I'm wondering what parts or moments in specific songs have impressed you the most. Here are the biggest differences I've noticed until now: - the coda in Karma Police (the "for a minute there" part) now sounds more "hollow" with Thom's vocals much more prominent - Fitter Happier's background sample/loop now seems much more prominent and the robotic voice doesn't seem as dominating as before - I think it's easier to notice the different guitar arpeggios in "Let Down" - Pearly* and Palo Alto have slightly different endings (I'm comparing them to the versions in How Am I Driving EP) Anything else?
  6. It's truly sad they couldn't make such a formerly sought after song like that work in a live setting.
  7. Sorry if this has been already discussed somewhere in other places of this message board, but I'm curious to know what, in your opinion, are the most striking sonic differences between the original 1997 version of OK Computer and this new remaster. I've heard some people say the instruments now sound more "separated" from each other and that it's easier to distinguish what is happening in the mix, but I'm wondering what parts or moments in specific songs have impressed you the most. Here are the biggest differences I've noticed for now: - the coda in Karma Police (the "for a minute there" part) now sounds more "hollow" with Thom's vocals much more prominent - Fitter Happier's background sample/loop now seems much more prominent and the robotic voice doesn't seem as dominating as before - I think it's easier to notice the different guitar arpeggios in "Let Down" - Pearly* and Palo Alto have slightly different endings (I'm comparing them to the versions in How Am I Driving EP) Anything else?
  8. As soon as you listen to "Lull" everything will change. Forever.
  9. I've just listened to "Moon Trills" and it's very, very gorgeous. Very Jonny Greenwood, also. It was a nice surprise and a great recommendation. After what you've said, I'm also looking forward to listen to that OST. Thanks.
  10. Please elaborate. Now I can see a parallel with the Trump administration and the Brexit issue. But, what were they specifically talking about in 2011, when this was originally released? In my humble opinion, it really doesn't seem to add much. I prefer every single other piano ballad they have done over this one (except WSYB). But I see a lot of people and music critics praising this song so much, like if it was the second coming or whatever. Just too hyperbolic. But I'm glad I'm not the only one who thinks the song is a bit "meh"/average... Corrupt media outlet? Care to explain? What's the story behind it? Is it represented as a means for the moonies to lie to and manipulate our societies?
  11. As far as late-period songs go, it looks like a lot of people think "the Daily Mail" is one of their best. But, honestly, I never understood the appeal. Sonically, it looks to me like something that could have been placed on "Hail to the Thief" (definitely not TKOL) and, for some reason, that build-up never managed to thrill me. So, what am I missing? Does it have to do with the lyrics? I'm not British nor American, so maybe I'm missing the point of the whole song. It sounds angry and heavily political. But what is it all about? And what's with the newspaper reference? Please enlighten me.
  12. I love the band but, honestly, I never took the time to listen closely to most of their solo stuff. I've heard The Eraser and Amok, but never really tried anything by Jonny. So, where should I start? Is he much different from Kid A/Amnesiac Radiohead?
  13. This. (after watching the videos of In Rainbows From The Basement - especially the performances of "Where I End and You Begin" and "Weird Fishes" - I thought Ed was the coolest member of the band. Sometimes I still think that)
  14. Here's a custom playlist I've made up in my huge spare time. I thought of it as a double album alternate summary of the band (even though it includes some of my personal favorites and omits some obvious stuff - Paranoid, Creep, Karma, etc...). It includes at least one song from each album, plus one or two "rarities". Disc 1 emphasizes the "rock band" and their more straightforward stuff. Disc 2 focuses on their more "experimental" and electronic/piano tendencies. I've even arranged the tracklist so that each of the CDs would work well in vinyl format (under 45 min - excluding the bonus track at the end, only available on a possible CD/digital release). It actually flows pretty well. Disc 1: 01 Airbag 02 The Bends 03 High and Dry 04 Lull 05 There There 06 House of Cards 07 Lucky 08 My Iron Lung 09 Bulletproof 10 Blow Out Bonus track: 11 Lift (OKNOTOK version) Disc 2: 01 I Might Be Wrong 02 Daydreaming 03 The National Anthem 04 Where I End and You Begin 05 Lotus Flower 06 Nude 07 Fog 08 Pyramid Song 09 Everything in its Right Place Bonus track: 10 Motion Picture Soundtrack (OKNOTOK tape version)
  15. New mixes? I noticed that Palo Alto and Pearly have a slightly different ending. But, apart from that, I couldn't notice much difference... What major sonic upgrades do you hear in this remastered version?
×
×
  • Create New...