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pennyroyalty

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pennyroyalty last won the day on September 9 2021

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About pennyroyalty

  • Birthday 08/14/1982

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  • Favorite Radiohead Song
    Weird Fishes/Arpeggi
  • Favorite Radiohead Album
    In Rainbows/HTTT
  • Other bands you like
    non-Radiohead music is mostly just a crock of shite

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  1. the exhibition is an absorbing way to spend a couple of hours and implies one more revelation: Hunting Bears segues into a longer, tuneless drum/synth jam, so there may have been some idea going on originally beyond the extremely stark guitar/synth washes. precisely the kind of anticipated content that the Kid Amnesiae bonus disc obscures the absence of. also by design it has to have a lot of isolated instrumental tracks/stems, which should be extractable for nerds. However, the only 'new' thing I really noticed was a deeper harmony part buried in You And Whose Army?, also some songs are seemingly completely absent: no Optimistic, Morning Bells, I Might Be Wrong, Knives Out, Dollars & Cents, or Life in a Glasshouse. (or any b-sides, obviously). seeing how much work clearly went into the 'game' I'm not complaining that there isn't a lot to see overall, but they should have had a random room where the absent songs shuffled round or something.
  2. whether a couple of elements on the track are new overdubs or not, the obvious recent production polish on If You Say The Word certainly makes it stand out in an ugly way. i'm down with them making a kind of remix/new experience out of outtakes and even newly isolated instrumental sections, but if you're going to do that, make it a properly cohesive thing.
  3. it's out on Spotify. The 'Pulk' True Love Waits is obviously a complete revelation, as Pulk is seemingly revealed to be built from the ruins of TLW, one of the band's most iconic songs. did they get cold feet about the version (i'm sure it would have upset fans at the time) and Pulk itself was then a kind of evasive 'don't put all the eggs in the basket' rework? kneejerk reaction, this should absolutely have been track 3 of Amnesiac (even though I like Pulk, and the eventual TLW we got on AMSP is devastatingly perfect).
  4. I was pretty sure that they'd quietly split (at least in terms of new albums) before hearing about The Smile. In a world where Thom & Jonny are straight up in a different band together, I'm super sure. Not only that, I'm not convinced I *want* them to continue: AMSP works too well as a closing chapter to risk an underwhelming follow-up.
  5. my take on this song was always that it fulfilled it's ultimate purpose being randomly bought out for acoustic sessions and radio bits as a protest song ('did you lie to us Tony') in the early-mid noughties and never seemed destined for anything more. not making it to HTTT despite that record's folky/protest leanings seems pretty damning in retrospect. this is the same song, slightly better for not having the forced Blair reference because the song is really just about paranoia/anxiety, as the video demonstrates. unfortunately retriggers all my issues with archive-era Radiohead as in, was unreleased for good reason so a video now makes a bigger fuss over the song than the song deserves etcetera (the ideas in these videos are starting to seem a bit overripe as well). I'd speculate that the idea of the vocoder effect on the backing vocals pointed them towards the many vocal shenanigans and its claustrophobic/dissociative effects on Kid A, even if a barebones folk song was never going to fit overall. this from 2017 is easily the most promising the song has ever sounded, imo, keep the vocal melody but rethink everything else.
  6. i think i saw that on Reddit before. i assumed it was real because of its quick appearance, but on reflection an enterprising fraudster could have probably made it from known snippets 'cos it seems like just a mash up of known Kid A/Pulk parts with a lot of distorted vocals overlaid 🍽️
  7. the idea that AMSP was old stuff seemed to get some traction with journalists but at least one article i saw was literally counting stuff like Full Stop and Identikit as 'old' because they'd been played (for the first time) on the King of Limbs tour, despite the obvious fact that AMSP was the only release window since. as far as we know, only Burn The Witch, Present Tense and True Love Waits predated TKOL, which puts AMSP more or less in line with the amount of 'old' material on previous albums. i'm sure the unknown histories of many songs are more interesting than what we realise though, there's been a lot of cool revelations in the past (The National Anthem technically existing pre-Radiohead's formation maybe the best example). obviously the band massively slowed down recording/releasing as the years went by too, so known unreleased material had to wait longer and longer to get studioed. and ominously, after AMSP, there's very little left to be on tenterhooks for (i love Skirting the Surface but it's probably going to be on The Smile record, i believe they didn't play any unreleased songs on the AMSP tour...)
  8. Man O War had album credits for a new string section and the vocal take was clearly recent (after the first couple of lines, which were clearly old). otherwise, there's no real reason not to take everything at face value is there? i'll personally give archival tracks a free pass for new vocals 'cos it makes sense that Thom wouldn't have bothered nailing takes for material they were leaving on the studio floor. even then, it's only Man O War that definitely has them (i find Thom's vocals hard to date after OKC because of the amount of production/performative elements going on hand in hand with his aging tone: when he strains or lays off for effect as a younger guy, he sounds like his older self, whereas old Thom can still put in a 'sweeter' take when his voice is well rested, but usually you can spot a bit of Neil Younginess and he won't 0-60 high notes). the fact that we got a video and everything for Lift, which sounds like a demo and i assume predates actual OKC studio sessions, shows that they're happy to release completely raw, ancient outtakes. i'm half expecting 'Kid Amnesiae' to be, in whole or part, a kind of cut and paste mash-up of raw original sessions, so it could be a little more jazzed up than strict outtakes (which obviously wouldn't have been properly produced/mixed anyway). but there shouldn't be a lack of outtakes to work with!
  9. only what they did with Man o War (added strings/modern vocal) would make us think about it, right? i hear little reason not to take it at face value, especially because of the legitimately low/murky production quality. apart from the acoustic guitar and vocal, which would be the new overdub suspects, it sounds like a live take from the era. to be an arsehole about it, it does way too good a job of sounding like the 30th best song from the sessions. i can believe that in '99 they might have thought a great version of the song could have been a contender, otherwise it's a struggle. but generally just no reason for them to be weird about it.
  10. they did a video for If You Say The Word if people didn't see
  11. i'm assuming that the b-sides thing (some, but not all, are on the tape) is a victim of them not doing any remastering while wanting to promote the outtakes as a new record: if I'm reading the email right, 'Kid Amnesiae' is the name of that record, which happens to be attached to what's basically just a deluxe reissue of Kid A & Amnesiac. if this 'new album' is indeed a cohesive sounding listen, then it might make sense that the b-sides aren't muddying the water. so we'll see. with 95%+ of everything i ever listened to or ever will currently retailing at £9.99 a month, my huge cd collection is recently feeling like a ludicrously expensive assortment of antique coasters. back in my day you had to get a bus into town and snatch up the singles pretty sharpish and if you didn't, you never got to hear this shit. i have no idea how young music fans today are supposed to achieve that glorious 'i'm in a cult' feeling via the spotify search bar, but at least they weren't relying on this release to hear Trans-Atlantic Drawl.
  12. that is pretty cool hopefully now we get a Kid Amnesia Monopoly set with like minotaur and pyramid playing pieces
  13. nowhere has been banned for a history of killing any and all innocent conversation regarding Radiohead with extreme toxic negativity and off-topic posts. the final straw was basically libel against a band member. this board has never tolerated prying into the personal lives of the band beyond that they've spoken on themselves, especially if users repeat unsourced rumours as fact. issues such as Radiohead playing a gig in Israel against the wishes of the BDS movement are theoretically fine to discuss, and I'm sure many fans have mixed feelings about the matter, but posters will agree to disagree in a thread about that discussion and keep it there. you can also post about it in the current events board or, most productively, discuss it somewhere other than a mostly dead Radiohead forum. users who have nothing positive or constructive to say about Radiohead's current projects are generally encouraged to discuss it elsewhere.
  14. but despite the crackdown in the early nineties i own a shit ton of records made since then, mostly hip hop, that use in an incidental manner uncredited samples of minor passages and moments akin to those Radiohead used. you had no idea that Radiohead were sampling these songs and artists until you were told, because they weren't central to the compositions of the Radiohead song or sampled track. in your weird vendetta and determination to cast Radiohead as irl bad people whatever the facts, you are arguing for the end to fair use practices that would cramp the creativity of many musicians, whatever race and income, in a way that no actually talented musician wants or is asking for. i'm tired of fact checking all these authoritative sounding asides you throw out (like Thom supports Blurred Lines lawsuit) only to realise it's never true. have a good day.
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