RAdiohead

irony = julio's stance as radiohead hata being JUST as cliched and as ho hum as he wants (hopes?) the new songs to be. he HASN'T EVEN HEARD THEM and yet he took time out to bash the fecking DESCRIPTIONS. and why?

its one thing to be convinced that radiohead are inauthentic or overrated; its another entirely to pounce like a wolf on anybody else who sees something in them, especially when the crux of that fan-music connection is one borne out of vulnerability.

he (or anyone else) can take the sadness, confusion, anger, fear and deride it, mock it, HATE it all he wants. me, i'll take it (as well as the songs) and celebrate it all. not because i'm a sad moany bastard (really, i'm not) but because the alternative, to deny all of that, is too ugly and dark and boring to bear.

Jules: "Get your head checked melissa" constitutes personal attack with intent. But what's this claptrap about banning the guy??? Tell me that's a fucking joke. I thought what he said was valid ranting.

And right-on Mark P - you are on the money.

yeah. I've heard everything they've done up to this and when I saw the descriptions it just reminded of the past. Irony indeed.

''its one thing to be convinced that radiohead are inauthentic or overrated; its another entirely to pounce like a wolf on anybody else who sees something in them, especially when the crux of that fan-music connection is one borne out of vulnerability.''

i did not intend to 'pounce'. I didn't know it was borne out of some 'vulnerability'.

''he (or anyone else) can take the sadness, confusion, anger, fear and deride it, mock it, HATE it all he wants.''

I love or hate a lot of music with nothing in between, which is unfortunate sometimes.

melissa- hope you accept my apologies.

''"Get your head checked melissa" constitutes personal attack with intent.''

yeah, and I apologised for that.

So yeah, deleting ILM would probably be a much more satisfactory solution than baring people. Don't tempt me.

Genuinely, though, he's apologised, and I don't think his attack was that vicious in the first place (although I understand Melissa's upset at being told to "get her head checked"). Kiss and make up, folks.

DELETE FROM boards WHERE boardid='2';

Finger on the fucking enter key.

Punch Up At A Wedding is wonderful, however. Yorke seems to have perfected his knack for singing nasty, horrible lyrics while sounding all sweetness and light. "I don't know why you bother / nothing's ever good enough for you / ... / you've come here just to start a fight."

I don't think anyone's going to be surprised about the lyrical content of the songs -- it's still confusion, loss, despair, anger and so on. Scatterbrain and Sail To The Moon do show an unexpected tender side, almost. Wolf From The Door features a stream of consciousness rant full of non sequiturs which is geniunely unsettling.

I imagine the studio versions will be significantly different, though.

Lift - a very old song, was supposed to be on Ok Computer, Ed's soaring backing vox on the chorus have been chopped and it's been slowed down quite a bit, not as good as the old version, although you may hear my high pitched squeaking on the bootlegs from the 1st night in Lisbon.

Wolf from the door - thom could be heard mumbling 'ooh baby, baby, baby...' over the middle eight, i guess he hadn't bothered to write lyrics before they played it, there was reference to Stepford Wives though.

Stand up, Sit Down - most like the Kid A/Amnesiac stuff, lots of analogue synth action from Jonny and vocal harmonies from Ed - speeds up towards the end with 'little raindrops' repeated over and over again.

I didn't get to hear the other new stuff cos i had to come home.

Didn't realise how crap i was at describing the new stuff until i posted this, you live and learn i suppose.

The band seemed the most happy and relaxed i'd ever seen them, a friend who has seen them more than 50 times seemed to concur.

It'll remain to be seen whether they'll manage to lay them down in 2 weeks as planned, something tells me the March 2003 release date may be pushed back.

I didn't think I was being vicious. I was actually trying to discuss some of the things around the music that was being described. why was [x] song the 'angriest' what made it angry in the first place. Sure, I didn't hear the music but there is the music and then there is the 'matter' that surrounds it. and i have heard radiohead...

also, are there a set of chords which make music mournful and why do they keep doing it over and over...

I was honestly curious about some of these descriptions and just trying to get some discussion but I think the way i put things in a bad way and i accept that.

Julio- I wish the fleas of a 1000 reindeer nestle in your genitals

that is all.

I appreciated your descriptions, Mel. It's helpful because I know a little about your taste & have seen some of your writing so I have an idea where you're coming from. Where would you place these new songs in the context of the last three albums? Is there a place where they "fit," in terms of production, mood, etc?

Yeah I wonder!!!!

Lyrically it's the same ground as the previous two; oblique, cryptic phrases, dealing with some vague non-specific dread. You know.

that is all.''

heh. forget about being nice and civil for now. Posting under our own names would be a start...

uh this is my real name.. as much of one as you need to know- would posting 'Paul' be any more informative?.. and it was all in fun really... well, mostly at least.

that would be 'indie' love then (lurve is too 'black' and therefore not allowed heh). Indie love= I slap her but I do not tell I'm in love with her (because i do not know how).

As far as my friends and I can determine, this request came from a girl that we refer to as "asscrack girl". Her real name has yet to be determined.

if you did such thing I might actually come out on top after yesterday. Though ppl don't like doomie I think.

Melissa's been hanging with J-Lo, kewl.

In other words what I'm asking is please don't threaten to delete anything, and please don't delete anything either unless it falls into the (pretty tight) guidelines you know about as a moderator. People should be civil on web boards because they want to be not because they're told to be.

there are a number of reasons i do not really want to listen to radiohead or associated projects anymore, but i really like this new record. i mean, i knew i would from the moment everyone decided it was boring and lacked compelling songs. the mistier and harder-to-pin-down the compositions are in the better imo, the main reason moon shaped pool and king of limbs are my fave radiohead releases these days

Lol yeah I actually liked this more than I thought I would. I really like the production too… I feel like Godrich is good but sometimes a slight change is good.

TKOL is easily a top 3 RH album for me - probably top 2 if Staircase and Supercollider were part of it - idk why so many Radiohead fans seem to rank it next to Pablo Honey.

The new issue of The Wire is out, so here's my full review of the Smile album:

The Smile
Wall Of Eyes
XL CD/DL/LP
Why do The Smile exist? Jonny Greenwood has done brilliant work as a composer for films. Thom Yorke has his solo work and Atoms For Peace. Is it just a way to play concerts without being asked to sing “Karma Police”?

The group’s previous studio album and its accompanying live document offer songs that feel as half-sketched as those on the last two (or three, or four) Radiohead albums. Occasional post-punk outbursts tease the prospect of excitement, but middle aged ennui always wins out, and Tom Skinner, one of the most exciting drummers on the London jazz scene, is reduced to delivering somnambulistic half-remembered Ethio-jazz, like a library music version of Sault.

The title track lays a gentle Brazilian guitar strum over booming tympani. In the back, electronics crackle like distant firecrackers, and eventually strings come in. The music is gentle but ominous, and it’s hard to be sure which impression they want to linger. “Read The Room” and “Teleharmonic” are more conventional rock songs; the former in particular could have come off any 21st century Radiohead album. “Under Our Pillows” has a math rock feel to start, guitars sliding into place like the gears of a watch; in the song’s second half, a motorik bassline materialises, pumping the energy level up somewhat. “Friend Of A Friend” pulls from multiple early 1970s sources. Yorke’s near falsetto vocals bring to mind Elton John at his most mawkish and the orchestral arrangements amplify that tendency, but there’s some Bowie-ish theatricality and King Crimson-esque buzz around the edges.

In the final moments of the inexplicably eight minute “Bending Hectic” someone plugs in an electric guitar, an almost bafflingly aggressive gesture compared with everything before. And/but the minute all these songs end, they vanish from your mind’s ear as if they’d never existed. Again, why?

Home visiting my folks and going through boxes of stuff from youth, found my copies of the 'Drill' EP 12", the 'Pop Is Dead' 12", original UK 2LP of 'OK Computer' and 2x10" of 'Amnesiac' all in a closet unplayed (and upright) the last 23 years...

https://pbs.twimg.com/media/GGIJLFIWQAA8EOP?format=jpg&name=large

https://pbs.twimg.com/media/GGIJT-wXMAAW9Uq?format=jpg&name=large

Should probably sell them, right?

always valuable to learn who an obscure young vocalist like this Yorke fellow "brings to mind"

Again, why?