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Everything posted by pennyroyalty

  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.
  15. confusion in the studio over what Miles wanted/time signature/technique etc (i guess this is what we're talking about) doesn't equate to technical difficulty playing it decades later. the bit being sampled isn't that complex. that article hints at the kind of overall difficulties and great mysteries of creation and attribution, 'cos Alias is playing them a rhythm he learnt from some other dude who learnt it from some other dude. rhythms are just fair game, for the most part.
  16. you said that Thom supported the Blurred Lines ruling, and that is absolutely not evidence of him supporting the Blurred Lines ruling. i highly doubt he does. you're saying that uncleared samples are illegal, but you don't know that they didn't clear the samples. sleeve notes may not reflect all behind the scenes processes. sampling in general is a foggy issue with a lot of confusing and evolving case law. the most likely explanation may simply be that the samples were considered by all sides to be too minimal/inconsequential to merit any legal action/official credit. at the risk of anyone mistaking my googling powers for expertise, this 2016 case speaks of reinstating 'the de minimis doctrine, wherein only a minimal and insubstantial part of the original work had been copied in the new work'. the Hayes/Davis/Coltrane samples will be covered by that, and likely were in '00/'01. the point i'm getting at with Kinetic is that Alias might not be getting any money even if the Miles Davis estate was paid. you're going deep into the ethical issues, so why be bound by bad laws/bad practices. overzealous sampling laws have hurt many black artists, and Radiohead's shout outs to different influences must have had an impact. there's this whole period in the British music press of critics mocking Kid A and its influences, rowing back against the post-Britpop diversity of the end of the nineties, hard selling retro rock by and for white kids. i can personally credit Radiohead with getting me into Miles Davis years before I might have otherwise.
  17. consider the possibility that i, random guy, may know at least as much about copyright law as you, random guy. i'm saying that the Isaac Hayes estate doesn't actually deserve all that much reward for the keyboard player on a live album on a cover of a Bacharach/David song playing a line which Radiohead used for ambient effect and isn't really integral to the song. (it's also not like Miles Davis himself literally came up with the drumline sampled on Kinetic, which again is pretty innocuous in and of itself, it would have been easy for Selway to play it or something close). the Blurred Lines ruling was awful for artists and will hopefully be overturned or rendered defunct going forward. can you link to Thom supporting it? given no evidence to the contrary, i'd also assume that the samples were cleared. just because they're not credited in a sleeve note doesn't mean they weren't. while the Hayes/Bacharach sample was a recent discovery for fans, stuff like the Kinetic sample was well known years ago. the Alice Coltrane sample was spoken about at release. all these different artists, surely in 20 years we'd have heard something about an issue, if there were issues? why are you so forcefully assuming otherwise? Radiohead don't fully control the publishing on Creep because the middle 8 is 'inspired' by the Hollies 'Air That I Breathe'. it was that Hollies issue that screwed Lana Del Ray, likely not anything coming from Radiohead themselves. 'Get Free' is also far more blatantly in debt to Creep/Air That I Breathe than anything else we're discussing, and Del Ray should have realised that long before it became a controversy.
  18. i guess with realistic expectations this reissue is looking okay. no idea why the cassette tape thing is still a thing. it kind of made some sense with OKC20, but as someone who lived the 'tape to cd' era very vividly (that's how i listened to OKC/The Bends), tapes were just homemade compilation fodder by '00/'01. bands are allowed to feed their whales. if they don't, these products don't exist. i wish Radiohead would bear in mind that a lot of the people who were loving these records as teens back in the day are likely the same people who got fucked by the constant crisis and economic wasteland of the 20 years since. this is particularly ironic with Radiohead because they pretty specifically saw it coming. OKC20 was a disaster in this regard, with exclusive material being tied to a £100 collectors fetish tape. i'll give them some credit here for the priciest thing being £80 (i don't buy vinyl anyway) and crucially, all the new music is on the basic cd... and if that material is going up on spotify etcetera, which i assume it is, then i won't grumble. i wasn't thinking about getting a new song because the excitement is really all the false starts and different versions of known stuff. i'm not surprised that something like 'if you say the word' exists, but you probably don't want to draw too much attention to it.
  19. most of the b-sides are on the tape. if there were any legit concerns about samples, they would have been sorted a while back. it's pretty obvious with Idioteque why they had to sleeve note credit the sample. the LSP sample, like the Alice Coltrane harps in MPS, aren't much more than incidental ambience. nobody wants to live in the world where you can't have fun with stuff like that, and if it was going to be a problem, it would have been trivially easy for Radiohead to record alternative parts.
  20. complete Kid Amnesiac sessions/outtakes are the holy grail of the fandom but I felt pretty burnt by the OKC 20th: only three properly presented outtakes, one of which had brand new vocals/strings (Big Boots) and one a demo presented as a finished song, with video and everything, which doesn't even sound like it was OKC era (Lift). nobody needed the remaster and i'm under the impression the boxset didn't do as well as they hoped seeing as it's still widely available. the cassette tape was some weird fetish shit, so their ideas of doing something cool/special worry me a bit... what are we getting this time, minidiscs in honour of Thom losing his demos to a lightning strike? one cool idea might be to present the material in a boxset as a reimagined double album, which was always the big 'what if?' at the time. it's bizarre in retrospect how they played loads of Amnesiac songs live directly before and after Kid A's release. poorly managed hype and confusion around the new songs did hurt the band critically, and you wonder how late in the day Kid A's tracklist was finalised. they didn't want to overwhelm people at the time, but that hardly matters now. whatever happens, i hope they're more generous than they were with OKNOTOK, because there should be an absolute mountain of interesting versions/sessions/outtakes here and we all know it. last time out, only hackers saved us from a future OKC 30th edition with the complete recording sessions, which £100 boxset purchasers should have been getting in the first place.
  21. stop posting about how shit I, Israel and Radiohead are and go and enjoy your life. the era of big forum essay back and forth has passed, for better and worse. probably the Radiohead reddit is the best place to have a discussion now. i don't want to see this once magnificent but now dead/sleeping forum overpowered by your constantly off topic and/or angry contributions. i strongly feel that your arguments need to be strengthened by rigorous engagement with a more active community, which we here at Mortigi Tempo are unfortunately unable to provide you with at the current time.
  22. smug dismissal of The Smile yields no space for insight or conversation and your extreme and false portrayal of the bands politics is obviously terminally influenced by one disagreement (they played a gig in Israel). i find your leaps of logic hard to follow and references to 'Thom/fan sexual relationships' are unsubstantiated forum gossip. your essays are better posted on your blog. let this board rest in peace.
  23. people aren't discussing The Smile because the board is obviously dead. your, um, extremely specific opinions might find a more engaged audience elsewhere. they're so negative and conflated with political issues that it seems unlikely that you're actually interested in discussion.
  24. you may have picked the wrong day to talk about a radiohead tape
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