Jump to content

no sleeep

  • Content Count

  • Joined

  • Days Won


Everything posted by no sleeep

  1. Luca Guadagnino is garbage. Even give him a Ryuichi Sakamoto score and actors like Julianne Moore and Kyle Maclachlan, he’ll still botch it. He is incapable of making a good movie. Suspiria might even be his least worst one.
  2. The approach or set-up is crucial. For instance the way we worked on the last record was to rehearse everything up to such a standard, where most of the parts have been so finely tuned, that recording was largely a matter of capturing the best performance. And that’s fine, but recording in this way tends to mean that the songs have a certain way of sounding, i.e. – pretty good in a live/band context. Well that’s not enough now, and I think there is a feeling that unless we change our approach then we're just going to become (?) of ourselves and ever so dull. There was a wonderful moment this week when we were all crowded round the TV watching this programme documenting the story of hip-hop; and it was the classic years from ’86 through to ’92 with RUN DMC, Public Enemy and NWA, etc. Some of the greatest records ever made. And they interviewed Hank Shouclee [sic] – he was the fella who produced Public Enemy in the early days – and made the great 'It Takes A Nation Of Millions...' album. And he was explaining their methodology – the way they recorded. Basically they all set-up with samplers, Devo, drum machines in the same room and recorded. Now most of it, he said, sounded like a mess, but apparently there were great moments, that were then cut up and from that the basic track was constructed. The effect of hearing this was like 'Well, why the fuck can’t we do this?' – it could be so exciting. We have the means to make a communal racket so why not harness some of this technology and use it within our own sphere. I mean we’re not going to make a hip-hop record, much as we’d like to, but what was exciting was the idea that kind of approach, or something similar offered us a necessary alternative to the way that we have largely worked until now. Once we have done this then we might really get somewhere. - Ed’s diary
  3. https://www.mrflamm.com/uploads/2/2/0/0/2200902/barnburningbyharukimurakami.pdf
  4. https://www.theguardian.com/music/2020/oct/02/why-radiohead-are-the-blackest-white-band-of-our-times
  5. I feel like the only reason to make this platform was a way to do a digital release of Kid A and Amnesiac outtakes while maintaining the band’s visual design. Hopefully it will be free, there won’t be any physical edition, and that’s why they denied it exists.
  6. Ed’s album cycle was great. I loved listening to a lot of Ed’s interviews more than his album, but the Tape Notes podcast with him should be interesting to fans of both. As mediocre as EOB is overall, it does have nice moments (Brasil’s beat drop is terribly executed but the folky first half really is gorgeous), and it’s a better solo project than Anima (which has two good songs and is otherwise terrible) or Suspiria, not to mention Weatherhouse, an album I never want to go back to. Anyway I don’t like the negativity around the EOB album, considering its ambitions are so much higher than what any of the other members did lately. Does it succeed at these ambitions? Largely no. But he’s pushing himself at the same time the band as a whole are resting on laurels and delivering the expected style of Radiohead adjacent content. If you read between the lines of certain interviews, Ed also seems a bit miffed (in his very good natured way) that his songwriting contributions had to be explored solo because he was never wanted as a songwriting collaborator on Radiohead albums. There are plenty of times when Ed being involved in more decisionmaking on songs may have helped flesh out Radiohead’s music to more dimensions of emotion beyond the expected mellow tense mournful mood (the final arrangement of Present Tense seems like one example where this may have happened, resulting in the highlight of AMSP). Without other helpers, his own songwriting is weak, but this is also sometimes true of Thom. If anyone liked that Tape Notes format I recommend also checking out the Ibeyi and Rina Sawayama episodes. Ash was one of the best albums of the decade, and I didn’t particularly like Sawayama album on release, but that episode gave me a new appreciation. Caribou also did one, but I found his album so boring and maybe I’ll have to revisit it later this year (edit: Caribou album ends really strong, but the first 30 minutes are rough to get through. I still like Four Tet’s album a lot better.)
  7. Jonny got off twitter and on instagram https://www.instagram.com/transjonnygreenwood/
  8. Treefingers is a society tho. Radiohead’s most visionary and beautiful song. I want to live there forever.
  9. And it has to be said that Sharona Katan has good taste in cinema. She seems to work for Mubi or something. There is a good Palestinian film on there now.
  10. We still picked the least worst gen x alt rock stars to stan and it’s not even close. The whole crop was rotten. The other bands can all be found on altright podcasts talking shit about cancel culture and praising fascists while fleeing dozens of rape allegations gleefully unmasking in public and spewing the spittle of their unlistenable new songs at social media accounts they can’t even log into without the technical help of their groomed 14 year old sugar babies. And the funny part is they all seem to think their genre of music used to be the center of culture and now have lost that status to a bunch of (racial and gender dogwhistle) usurpers. Alt rock hasn’t been at the center of pop culture in 40 years though, and even then it lasted like a week. The point of it was to revel in one’s marginality, and these multimillionnaires are angry that they aren’t popular (enough) anymore? Radiohead at least never bought into that narrative, and used to publicly challenge it all the time. Even as recently as what Ed said about the Rock n Roll Hall of Fame. So, yeah, Radiohead are leaders in a reactionary genre whose branding of nontraditionalism thinly disguises the fact it imposes the harshest limits on both aesthetic experimentation and political progress of any type of music that ever existed. Working within this toxic culture and this creative austerity regime, Radiohead’s personal and artistic failings are almost unavoidable, but their successes are surprising and worthy of celebration. In lots of ways they tried to overcome the limits of alt rockism/alt racism etc. The worst thing they’ve done is to retreat from their own achievements in response to pressure from their more conservative fans and alt rock peers. There was something very sad a few years ago about seeing members of Radiohead liking tweets that mocked TKOL and described AMSP as a return to form. I would like to believe their thin skins are the reason for their shift on certain issues. It isn’t necessarily sincere, it’s a result of being surrounded by people, who they may imagine as their base, who constantly indoctrinate them with a set of conservative aesthetic and political beliefs they come to see as the norm, which tragically, does not always even reflect the norm of what their broader fanbase believes, let alone what the band really believe. Jonny *does* need to get off twitter. He obviously doesn’t need to stop making music, let alone existing.
  11. There is no such thing as a Kid A 20th anniversary edition. There are only individual songs and families.
  12. Kid-A’s ambition to be creative, innovative and, above all, different.
  • Create New...