Jonny Greenwood Penderecki Interview
Here is recent interview with Radiohead’s Jonny Greenwood.
Tomasz Handzlik: How come You’re fascinated in Penderecki’s music?
Jonny Greenwood: Many ways: that it uses such traditional technology to create whole new sound-worlds. Again, it was a teacher who played us some of the Thredony for the Victims of Hiroshima. I didn’t know it was allowed. I started hunting out his scores, and thinking about pitch and time in music in new ways. I’m aslo facinated that his drew influence from electronic music, and after studying it in great detail, took what he learnt back to orchestral writing.
TH: That was a remarkable second step to take. A rock-star and avant-garde classic music?
JG: That’s an unusual combination. I grew up as an obsessive fan of many kinds of music, thinking of good rock, jazz and classical records as all being as valuable as each other. Still think that’s true. Kraftwerk, Miles Davis, Messiaen, Joy Division, The Fall, Lee ‘Scratch’ Perry….all of these, for example, have made great records, well worth hearing.
TH: But your history with music started with a cello.
JG: The viola – yes, I was in youth orchestras, and recorder groups well in to my teenage years. I’d be practicing with rock bands after school some days, and with orchestras or baroque recorder groups on others. It was a strange double life, but I’m grateful that I was spending so much time making music.
TH: Which of the composers came into your life as the first one? Krzysztof Penderecki or Olivier Messiaen?
JG: Messiaen. A teacher played us the Turangalila Symphony when I was 15, and I was very surprised that such colours could be made with an orchestra. The Ondes Martenot swooping over violins that seemed to be playing a different piece of music from the rest of the orchestra. It struck me as supernatural. And, as a teenager, I think I responded to the fact that he was still alive and composing: it made him more like a band to me, less of a remote figure.
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Ed O’Brien Interview “You’ve got to find a voice”
Here is Ed O’Brien’s interview (translated to English) where he mentions Radiohead touring in 2012.
Source: All Tuntun
To think about Radiohead is to think about something giant. One of the most important bands in Rock History, ufff, but not as fossilized myth but more like as some kind of firing material, passionate and constant. Sort of a factory of sounds, pure electricity from an eternal lightning coming from, ufff, the holly ninenties, sincronizing with the pulse of an entire decade and a whole generation defining them from the very beginning (yeah, I’m talking ‘bout Creep), giving some colour, to break right after with everything, as the only possible way to follow the best path: a path of their own. Because of that, it is no casual that after Ok Computer (1997), the album which has been so definitive in developing the algebra of making songs to a master level, and turned these five aliens into a major crisis; changing as the only northward, to turn into something else, standing in a different place, another century, another millenium. With two albums outlined within the logic of a ferocious storm, exploding into a cursed sound: roaring, groaning, calming, detonated from beasty machines out of those two obscure diamonds called Kid A (2000) and Amnesiac (2001). Confusing people, spreading idle gossip which had turned into some old, yellow, humid, magazines, Radiohead fortified its body, became famous and start walking over an electric fire of a mutant sound, that in between explotions and gentleness contained in the abyss of an inmortal repertoire, the neverlasting gas out from a flame that’s still growing now. Aldo Montaño.
This interview is the product of the delirium of a pair who traveled in a car for hours listening to the same old songs. Singing along as if we were nuts, not caring about the real sense, if there is any, but in which we would like (I would like) stay to live in. Because at the end, no matters how much I try, have no idea what the hell “I will raise up little babies eyes” means. But what I do know is that’s a part of the sweetest song in the world. Neither can explaing why it makes me so happy listen to Ed doing backing vocals in Karma Police, or when he sings with Thom in Paranoid Android, but there is a sort of a hunch that makes me feel everything surrounding these five giants is full of an enormous love towards humanity. As I said, these was our own delirium so we went “What if we ask Ed for an interview?” And althought all logics indicated we weren´t going to get any answer, even we still had some hope of a yes, at least I´d never thought that after a few weeks of singing along in a car the parts of this beautiful giant named Ed O’Brien, we would see him arriving in a yellow bike to a little cafe just to look at us and saying “Hey Sam, Casandra! How are you?”
By Casandra Scaroni and Samuel Dietz.
Fan.
Casandra- Have you been a fan when you were a kid? If that so, do you remember how it was that feeling after beeing on the other side for so long ?
Ed- Ever been a fan of…
C- of a band…
E- Oh yeah, of course. I mean, I’m still a fan of music in terms of a teenager. Yeah,when I was a teenager you know, you follow a band but it wasn’t like it is now, you would turn up at a show, you might go to one show like The Smiths in the 80′s or U2 or something in the 80′s, so yeah, I totaly remember how it feels because it’s very alive, it feels very important to you, that feeling of being into a band or when you get new music from a band it’s very important to you.
C- Or when there is a new record released and you go to the discstore.
E- Yeah, that’s right! It’s massive, it consumes, it takes over your life, days or weeks or whatever.
C- I’ve been reading interviews from you, and you’ve described yourself once as a « single’s junkie ». Do you remember which were the singles that got you into music at first place?
E- I was very lucky because I grew up in an era, a time from about 1979 onwards, and I was very aware of music in the charts in England . It was the post-punk era, so you had a lot of music like Siouxie and the Banshees, Adam And The Ants… There were bands like Depeche Mode, XTC, The Police, Bowie: the whole after punk that happened in this country. It was a very foetal place for music because people who went to Art College or artists, or musicians, suddenly thought « Oh I can be that » so, it was a great era of music, you’d been listening to the charts or tape them on a cassette recorder so you’d have Walking On The Moon by The Police, Spellbound by Siouxie And The Banshees, early Hip-Hop as well. Yeah, the whole charts would follow very diverse, very different experimental Pop music.I mean: that was Pop music when I grew up and those records went to number one. That was brilliant, you know!
Guitar.
Sam- How did you start playing the guitar? Why did you pick the guitar in the first place?
E- That’s probably because of two things that happened at the same time. I saw a poster of The Jam about 1979, a picture of the three of them: Paul Weller with his Rickenbacker was so amazing, he’s jumping and that image was really really strong. And the other thing was really The Police, Andy Summers, when I heard that it was like woah! I connect with that! And then it was listening to things like Johnny Marr.
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Latest speculation on Radiohead
As most of you know this site started by following the speculation following Radiohead around their 8th studio album The King Of Limbs. I wanted to continue to document the latest on the speculation, so here it is..
New Radiohead Album?
From WavingFlag on Mortigi Tempo:
“The King of Limbs, announced on the day of love; i.e. Valentines Day, and released a week later seems to have sent a clear message. This album was about love, happiness, joy, birth, rebirth, life, and nature. Just take a look at the last page of the Newspaper Album itself; a loving embrace. Tis very much a ‘spring’ album, particularly with opener Bloom. It often gives off a sense of a dreamlike wonder, such as in Codex and Separator… Almost a euphoric representation of utopia. But one thing sure didn’t add up… The ghosts, aliens, and zombie references, as found in the Newspaper Album, but particularly during The Universal Sigh event, where signs such as “I see zombies” were posted up. What gives? My suspicions have led me to one conclusion, although an infinite number exists and one seems entirely logical, yet isn’t the conclusion I came to. The conclusion I’ve come to is this: they were sending us a message. A message that this era of music is indeed split in two. One half love and joy, the other side morbid and subdued. Indeed, they were subtly hinting towards a Halloween era release. Zombies, aliens, ghosts, “i see zombies”, “early edition”, etc., not to mention it being 8 months after the release of TKOL as it stands today. Now, with Ed’s confirmation* of a tour for 2012, support builds for the idea of them having wait until the rest of the material was out before they would tour… And the Saturday Night Live appearance fits in perfectly with this theory particularly concerning to the precise timing. And just as speculation has come to an almost desolate grasp at delusion, Chieftan Mews, an obvious marketing ploy used by Radiohead since and before the release of TKOL, begins a countdown scheduled to end shortly before Halloween, just as the remixes end, and a week after the Saturday Night Live performace… It’s coming…
Part 2 is coming, hold on for your life”
Source: Mortigi Tempo
Hidden clues in Newspaper Album?
And if you remember back to when Radiohead released “These Are My Twisted Words” it included 14 pieces of artwork which were discovered to spell out The King Of Limbs.
Here is an interesting point that was sent to me:
“In Rainbows had the Hodiau Direkton puzzles ..These Are My Twisted Words had the words The King Of Limbs in the pdf artwork..
perhaps The King Of Limbs newspapers have more clues then one might think..”
Visit http://hodiaudirekton.blogspot.com/ for more information on the In Rainbows puzzles.
The questions from Chieftan Mews are here.
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A conversation with Grant Gee from Meeting People Is Easy
Here is an interesting video with Grant Gee who directed the Radiohead rockumentary Meeting People Is Easy back in 1997-98. (He talks about Radiohead near the end of the video.)
A conversation with Grant Gee. from SODAPOPTV on Vimeo.
You can watch Meeting People Is Easy in its entirety below.
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Preview Jamie xx’s Radiohead The King of Limbs Remix
Jamie xx performed a 2 hour DJ set for BBC Saturday night. It’s part of a program called BBC Essential Mix. The set features music from himself and Gil Scott-Heron, James Blake, Wiley, and Orbital. At the end of the set he debuts his remix of “Bloom” from the upcoming Remix he will appear on.
Source: Pitchfork
Jamie xx Essential Mix by Young Turks
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