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Everything posted by pennyroyalty

  1. you may have picked the wrong day to talk about a radiohead tape
  2. for me, the notebook stuff screams 'stuff that wasn't good enough for the early Radiohead website'. pictures of stickmen dancing in front of dollar signs, etcetera. however, if for the sake of argument it's all amazing revelatory stuff, it's still a mistake to glue your archival recording project to that. there should have been an option to just buy the mixtape stuff with the remasters/'new' songs without having to buy in to everything, digitally or as a 3cd package, whatever. the fact that there isn't indicates, in my opinion, them deliberately appealing to the 'whales' at the expense of your standard megafans. and the whales would have still paid £100 for the books and stuff anyway.
  3. even if everything i would expect to hear apart from the 3 established songs is on the cassette, which it clearly isn't, it's not good enough to not state upfront what's on it. doing the archival stuff as a mixtape is a cool idea but it ain't good enough to literally release it as a tape! the download exists but from my position i'd be paying over £100 for it. there's literally nothing in the deluxe version i can put in my stereo system, meaning that if i buy it i still have to buy the cds separately, cos my cd player is sweet. OKNOTOK is a bad product. you should be judging it by the standards of past deluxe archival projects by other artists. i can if i so wish listen to every little cello chirp and fart recorded for Pet Sounds, for example. we have a statement that Nigel recorded over bad takes. some of you are taking that to mean that these 3 songs and the cassette contents which still aren't 100% confirmed mean this is a comprehensive project. what http://recordcollectormag.com/reviews/ok-computer-oknotok-1997-2017 says to me is random cool shit taken from a much larger pool of recordings. if early developmental stuff from Paranoid Android survived, don't froth at the mouth absolutely convinced that *name song here* definitely doesn't. Radiohead chose to make an archival project which is probably incomplete, and they chose to price it a point which is uncompetitive in the market for music nerds who are into this kind of shit. i'm judging OKNOTOK from that perspective. don't get pissy at me 'cos being a Radiohead fan apparently means I have to be excited about Thom's diary and material which the band thought wasn't good enough for 20 years, now mysteriously worthy of the full video treatment...
  4. we're not talking a new album here. it's a deluxe reissue/remaster of a 20 year old record with all the baggage/expectations such a project brings. i'm gonna hold off the essay until it becomes totally clear what's on the cassette and credits etcetera (£100 for some vague indications...) but for me so far all signs point to some combination of overpriced, unnecessary and incomplete. there's nothing wrong with wanting a comprehensive product. we're talking about the most important, acclaimed album of its era from the 'best band in the world' etcetera. £100 is a lot of money. it's so much money that I, the biggest Radiohead fan in the world, am probably going to have to pass on it. you absolutely ARE entitled to sessions, demos, all the unreleased tracks in whatever level of quality, the full caboodle. not only does all that exist (yes Nigel taped over the bad takes but whatever) but YOU ARE GOING TO GET IT. 30th anniversary, 40th anniversary, whenever. there will one day be a far more comprehensive version of OKC released than OKNOTOK. this ain't OKC, it's just killing wallets.
  5. i'm sure the straw fan who has little idea about the head except for Creep and whatever other songs we've now decided were 'hits' would enjoy the average AMSP track more than Myxomatosis anyway.
  6. but Radiohead have never before played so little recent stuff at a festival. so you can make those arguments but it's ignoring that Radiohead set a new precedent with how few recent tracks they played. if hardcore fans aren't the target, it wasn't a problem in '97 and '03 when a third of the set was from their last album. I complain because Radiohead themselves specifically set different expectations of not doing what a band would typically do.
  7. FUCK THE CASSETTE even just thinking about the cassette makes me angry for years i was the poor kid who had to buy cassettes while everyone had cds OKC, The Bends, i did it all on a fucking tape and a shitty deck and walkman i was so happy when i got a cd player and joined the rest of the world. no more favourite albums getting screwed up in the tape player. make the odd mixtape, sure. but overall fuck tapes. nobody needs tapes. if you're a real cool cat buy vinyl, whatever. eventually the world forgot about tapes. you don't buy a tape player when you're buying stereo equipment. i certainly didn't last time i upgraded my shit. or the time before that or the time before that. and now they fucking release a tape. to celebrate an album from the fucking height of the cd era. an album that you only had on tape if you were fucking poor and you hated having to listen to shit on tape. they've releasing a tape that is never going to be played. a tape that, even if i had a tape player, i would never risk putting inside it to get fucked up because FUCK TAPE. for £100. tapeshape my arse.
  8. SPLIT CONFIRMED. for years they implied they hated being in a band and yet carried on. subscribe to penny premium for more insights into the Ra Diohead Code
  9. i actually like the idea that Man O War is an old take with new overdubs on strings/vocals. the story factor of that is quite cool if it turns out they're splitting up WHICH THEY KIND OF ARE FUCKING SIGNALLING-ISH ATM GUYS and it's just about a good enough go of the song that it's teasing some emotions out of me in a 'last song on the best of' way despite some fairly obvious 'i am indeed a demo from 1996' messy guitar/piano bits. that would mean they're lying about what the song is though. and i don't hear much reason to think the vocals are new, i suspect that just speaks to the confusion fans sometimes suffer down the years about where Thom is styling and where Thom is struggling. perhaps this is Thom singing in his natural, unpressured voice & the 'youthful' mid-nineties Thom voice was more of a style than we realised.
  10. deluxe reissues of old records aren't something a vibrant, creative band should be giving a hoot about when it comes to constructing setlists imo. i mean, they didn't even play any of the 3 'new' songs from it. at least do it properly. i had a ticket for Manchester but passed on it after the reschedule. travel/hotel costs was making it a hard decision, but it was made easy when I realised that recent setlists are cutting AMSP for an OKC celebration I have zero interest in. also OKNOTOK so far seems pretty badly executed for what it is.
  11. I'm betting that until last night they hadn't played a full length setlist with as few as 2 songs from the last released proper album ever in their career, festival or not. in '97 and '03 Radiohead played loads of new shit and few complained. certainly in the case of OKC, their willingness to shove it down people's ears at Glasto '97 was vital to the legend of that record in the first place. the result is still pleasing if you're there I'm sure, but the apparent changes in attitude are worrying. last night's set was like a closing down sale
  12. makes sense the Q interview is bullshit, considering the post-Kid A constant mocking and aggressive 'incredible sulk' cover feature/interview circa HTTT. if they're going to give a proper interview, it wouldn't be to Q.
  13. it's a small country, the country of their birth, record shops everywhere have been dying on their arse and need a little tickle, and i'm literally going to be in two of our major cities on the Friday hundreds of miles apart but neither for them are close to one of these now i probably wouldn't go anyway and it sounds naff but come on guys
  14. awful selection of uk cities, completely ignores the north and the east but don't worry Totnes, population 8000, we got you
  15. these pathetic brats don't know shit about good music.
  16. i think most people understood that it wasn't leftovers quality wise. certainly many Kid A reviewers, upon hearing Treefingers, remarked that it might have been nice to hear that song about Knives. i do suspect we get to hear MB/A and probably Pulk (with it's Pyramid Song connection) because they were struggling to get a 2nd playlist out of what was, once you remove the 10 Kid A songs, a random assortment. i do find Amnesiac strangely cohesive but i can feel my brain kidding itself. they didn't have a masterplan and release 2 albums, they (i recall reading) struggled to make one set that made sense... it wasn't determined, certainly when they started the pre-LP4 tour, exactly what they were doing with the other songs. i'm always impressed how much respect Amnesiac gets in retrospect as a singular entity, 'cos a lot of people at the time basically immediately started making 'LP4 was a double album' compilation tapes. which were great
  17. the b-sides weren't all completed in the album sessions, i believe. most likely cuttooth was, and it's surprising it didn't make Amnesiac (though i can see why the band weren't wholly satisfied with it), but my understanding is there were additional b-side sessions once the Amnesiac singles had been plotted out.
  18. when you strip Morning Bell to its basic chords/melody, it's not a very compelling song imo. the band really worked to raise that one into head nodding level on the Kid A version where they found its rhythm and menacing cool (even then I've never thought of it as one of their great songs). we only got to hear the Amnesiac version because of some convoluted theming/story about how Thom forgot he wrote the song, then they forget they did that version or something... it's literally a previously discarded take. the 'lost in the attic' odds and sods amnesia theme of, um, Amnesiac, is perilously close to what you might come up with if you were trying to make a selection of songs leftover from wider sessions seem more related to each other than they really are. also, Santa isn't real
  19. worst non-interludey album track since Morning Bell/Amnesiac: Desert Island Disc standard good role playing interludey track: Glass Eyes solid album tracks: Decks Dark, Tinker Tailor Wanky Whaler continued reasons why they're the best band in the world: The 7 other songs % of continued reasons why they're the best band in the world between tracks 3 and 6: 25%
  20. i know it's a festival, but the bravery of starting with the 5 song AMSP suite looks a lot less impressive when you realise there's one new song in the 18 songs they play afterwards. that's just doing a stealth hits/old faves set. 'we've justified our presence, now you can all have fun'. not playing identikit/the present tense gives a poor impression of the record.
  21. you not being engaged with the song has nothing to do with how formally unusual it is. your experience of Radiohead is very different to mine if you've been hearing beyond-Feral levels of off kilter riffs/beats this whole time. Fast Track would seem to be its closest cousin at first thought, and that's not exactly MOR RH itself. Spinning Plates? super innovative arrangement with the backwards shit, but i could also dismiss it as a dressed up jazzy ballad (i'm not). Feral consists of objectively less Standard stuff, crazy extended G minor into fiddly wank?, admittedly setting myself up for doc working out it's A, D, E or something...
  22. it indeed has nothing to do with the lyrics and structure... the fundamental building blocks create something uniquely fucked up sounding, the notes, chords and rhythms.
  23. 'their weird electronic era' is precisely the reason why we should be able to gently raise these issues without getting indignant 'nope shut up it's just the songs' responses! Kid A was a hugely divisive record. lots of people got off the train forever at that stop. they weren't operating in the genre of 'difficulty', that era had a precise set of influences, not repeated on subsequent records, and an appreciation of it in no way gives anyone a Licence To Instantly See Radiohead's Depth Forever. what's more, if it weren't for some element of dissenting 'i think the community has got this a bit wrong, some of the responses seem a bit unengaged with what they really did' prodding in the years after Kid A, Kid A might not be a lynchpin now. believe me, plenty of people were saying that yeah they got the influences but it's 'just not a strong record'. don't like this snarky straw man 'idea that tkol is ranked low by the community because there was some mysterious subversive element that fans just couldn't understand', perceiving my post as negating your experience and turning round and negating my experience of it's depth. i outright said i was generalising; these thoughts aren't necessarily aimed at mortigians.
  24. i wonder if anyone else will end up echoing my TKOL experience. for a long time i too regarded it as an aside, a clear experiment with one technique, and basically damned it with faint praise as an unimportant record (but thought it strengthened the catalogue overall, proving that not everything has to be an epic) the same way lots of people are doing now now i'm like, well AMSP seems way blatantly more of an 'aside' (an approach based on the ambience of the recording, as opposed to a fundamental compositional approach). and TKOL in retrospect looks like the standard 'here's our cool new sound' record like all that preceded. it probably took me 5 years of spread out listening to get TKOL to that point, probably equivalent to the journey i had with Kid A over the course of one year in terms of overall listens (i had a much smaller record collection when Kid A came out, and was much more inclined to obsessively listen to them). must admit it's getting painful reading all the damning TKOL posts. after almost 20 years of following this band, i'm going to outright say it's their biggest grower. and without wanting to endorse the bellybeat guy i think there's something to the idea, generalising, that when push comes to shove fans dislike TKOL because it's more challenging, and like AMSP because it's not. like the shit Feral gets in posts that completely ignore how it's one of the absolute most wtf unusual songs they've ever released, but like, just a complete coincidence, it's one of their worst songs as well, just don't even bother? hmmm AMSP is obviously strong and the career from song to song is very even to my ears, but it's obviously strong. literally a middle aged rockers tone it down and bring in strings record with a lot of uncool precedents, or as close as Radiohead could get to that. but of course i don't know where this grows to yet...
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