Posts Tagged ‘Thom Yorke’


Reissue on vinyl of the fifth PJ Harvey studio album “Stories From The City, Stories From The Sea”. Produced by PJ Harvey with Rob Ellis and Mick Harvey, and originally released in November 2000, Stories From The City, Stories From The Sea features the singles ‘Good Fortune’, ‘A Place Called Home’ and ‘This Is Love’ and includes a duet with Radiohead’s Thom Yorke on ‘This Mess We’re In’. The album won the Mercury Music Prize in 2001. Reissue is faithful to the original recording and package, cutting by Jason Mitchell at Loud Mastering under the guidance of longtime PJ Harvey producer Head.

PJ Harvey’s “Stories From The City, Stories From The Sea” is the fifth studio album from the critically acclaimed artist, and it marked a dramatic shift from her previous two releases, To Bring You My Love(1995) and Is This Desire?(1998). The former was Harvey’s commercial breakthrough, which landed the album on several “Best of” lists in 1995 and the latter earned Harvey a GRAMMY nomination for Best Alternative Music Performance in 1998. 

Stories From The City differs from the previous two albums in that it veers away from the blues influences of “To Bring You My Love” and the melancholy of “Is This Desire?.” Harvey paints a very vivid and sensual picture of life in New York City, and if she is indeed the protagonist in these songs, she was definitely living her best life at the time. 

Ironically, the opening track is titled “Big Exit,” a raucous, upbeat tune that immediately lets us know this is going to be something much different than what we had come to expect from Harvey. Track 2, “Good Fortune,” is not only one of the best songs on the album, but it may be one of the best in her catalogue. Harvey seemingly summons the aura of Patti Smith and delivers a tale that examines the indescribable feeling one gets when they first start dating someone. She sings it in a way that brings you right there in that particular moment we’ve all felt at one time or another: “When we walked through / Little Italy / I saw my reflection / Come right off your face / I paint pictures /To remember / You’re too beautiful / To put into words / Like a gypsy / You dance in circles / All around me / And all over the world.”

“Good Fortune” has a thread that continues right through to the next track, “A Place Called Home.” As I listened to the song, it became apparent that this album is somewhat of a chronicle of a romance, and Harvey does not hold back, singing, “One day I know / We’ll find a place of hope / Just hold on to me / Just hold on to me / Walk tight one line / You’re wanted this time / There’s no one to blame / Just hold on to me.”

Harvey has shown vulnerability on her previous recordings, but on Stories From The City, there’s a beauty and joy that radiates throughout the entire album. The next two songs, “One Line” and “Beautiful Feeling,” bring the mood to a more tranquil place, with the latter being one of the darker yet gorgeous songs on the album (“And when I watch you move / And I can’t think straight / And I am silenced / And I can’t think straight / And it’s the best thing / It’s the best thing / The best thing / Such a beautiful feeling”).

The one song that does not have an overt reference to the album’s romantic theme is “The Whores Hustle and the Hustlers Whore,” a song whose lyrical DNA reminds me of a Lou Reed song. The subject matter is definitely in his wheelhouse, as evoked through lines like “Speak to me of heroin and speed / Of genocide and suicide, of syphilis and greed / Speak to me the language of love / The language of violence, the language of the heart / This isn’t the first time I’ve asked for money or love / Heaven and earth don’t ever mean enough / Speak to me of heroin and speed / Just give me something I can believe.”

“This Mess We’re In,” along with the previously mentioned “Good Fortune,” ranks high on the list of Harvey’s best songs in her career. When I first listened to the track twenty years ago, I did not expect it to be a duet with Radiohead’s Thom Yorke singing its first lyrics. The pairing of Harvey and Yorke is sheer perfection, and “This Mess We’re In” made me want to hear more from them. Yorke also did backing vocals on “One Line” and “Beautiful Feeling,” but this one stands out amongst the three. The song is about two lovers whose affair is approaching its end and the conversation leading up to that point, with the duo echoing each other, “What were you wanting? (What was it you wanted?) / I just want to say (I just want to say) / Don’t ever change now baby (Don’t ever change) / And thank you / I don’t think we will meet again / And you must leave now / Before the sun rises over the skyscrapers / And the city landscape comes into being / Sweat on my skin / Oh, this mess we’re in.”

Additional highlights include “Kamikaze,” “This Is Love,” and the album send-off “We Float,” which, like the opening track “Big Exit” musically and lyrically takes the listener to an unexpected place (“We wanted to find love / We wanted success / Until nothing was enough / Until my middle name was excess / And somehow I lost touch / When you went out of sight / When you got lost into the city / Got lost into the night”).

Harvey has always incorporated sex within the thematic thrust of her albums, but with Stories From The City, it feels different from her previous output. Her inspiration had come from another place in her life. Harvey was living in Dorset, England at the time, but a couple of lengthy stays in New York influenced her writing. “New York certainly gave me a different kind of energy,” she explained in a 2000 interview. “I do think that has permeated to some of the music. I had long wanted to [live there]. I made a film with Hal Hartley in New York, and I realized at that time what an inspiring sort of place it felt to me. I can remember even when we were filming, I was writing songs, some of which ended up on this record. I just felt very inspired.”

As I sat down to write this retrospective, I listened to this album intending to play a few tracks at a time, but I often found myself settling in and letting the whole thing play. That’s what excellent albums tend to make you do. The deserving winner of the prestigious 2001 Mercury Prize, Stories From The City, Stories From The Sea is an intense, loving, and beautiful valentine to a New York City that I miss dearly.

Happy 20th Anniversary to PJ Harvey’s fifth studio album “Stories From The City Stories From The Sea”, originally released October 23rd, 2000.

No photo description available.

we’ve been hacked
my archived mini discs from 1995-1998(?)
it’s not v interesting, there’s a lot of itif you want it, you can buy the whole lot here
18 minidisks for £18
the proceeds will go to Extinction Rebellionas it’s out there,it may as well be out there
until we all get bored
and move on
Released June 11, 2019
The 18 tracks of raw audio are identified only by numbers “MD111” through “MD128,” so discovering what songs are actually on the discs will be an Easter egg hunt, though some fans have been cataloging it on a shared Google doc. Greenwood says the recordings will only be available for the next 18 days. “Never intended for public consumption (though some clips did reach the cassette in the OK Computerreissue) it’s only tangentially interesting. And very, very long.”


It probably wouldn’t be all that exciting to hear 18 hours of process recordings by most artists, but Radiohead in the late ‘90s is an exception. This is partly because they were willing to take big swings in terms of arrangements, and it’s just interesting to hear them, say, try “Karma Police” with a dub reggae groove and give up halfway through. But it’s mostly because this archive of material is a document of them denying a lot of their own instincts and impulses in the interest of pushing towards a bolder evolution.

This takes a few different forms in the archive. In some cases, you get recordings of Thom Yorke seemingly improvising songs off the top of his head and you can hear the sort of melodies and chords he reaches for when he’s not really thinking and acting on a sort of muscle memory. There’s also a lot of full-band improvisations and abandoned songs in which in retrospect it’s pretty obvious they’re just getting various influences out of their system, whether it’s yet another standard 80s-style alt-rock song, or them going into a funk jam for 11 minutes just to see if anything cool happens. Then there’s just a lot of rejected arrangements and approaches to songs – you really get a sense of how “Airbag” evolved in particular, and how they pushed it from a rote “High & Dry”-esque ballad into something that still sounds quite futuristic and progressive over 20 years later.

Then there’s “Lift.” It’s pretty clear they knew that “Lift” was a very commercial song, but one where if it was indeed successful would push them in a rather square direction that would ultimately become Coldplay’s entire lane as a band. It’s a beautiful song in any arrangement, and triggers big emotions even as Yorke seems to undermine his own song with odd lyrics when the melody seems to call out for something more sentimental and direct. There’s a few versions of “Lift” in the minidisc archive, including an unmastered studio recording that is batched along with the full unmastered OK Computer and most of its b-sides, suggesting that the song came awfully close to being included or released on one of the singles.

The recording of “Lift” posted here is the best of all the known versions; the one where they get out of their own way and just let the song be as big and emotional as it wants to be. They’re leaning into every musical impulse they’re trying to get away from in this period, and it’s beautiful and unguarded. Thom sings with earnest passion, and Jonny Greenwood is unashamed to pile on a ton of synthesized strings to tug at your heartstrings. Maybe this, like that funk jam, was just a way of getting some impulses out of their system. I get why they felt a need to discard this and move on, but I’m very glad we have this recording now. It’s absolutely wonderful on its own terms.

After 18 hours of unreleased material from OK Computer’s recording sessions last week, and the band was reportedly extorted for $ 150,000, Radiohead has now decided to download the material for 18 days at Bandcamp for a £ 18 price To make available. All proceeds go to the Extinction Rebellion movement, which uses civil disobedience against the mass extinction of animals and plants as a result of the climate crisis.

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Thom Yorke  has shared the first song from his forthcoming score to Luca Guadagnino’s horror reboot Suspiria, following the film’s premiere at the Venice Film Festival this past weekend. Yorke’s Suspiria score will be out October. 26th through XL Recordings. The song, titled “Suspirium,” is one of 25 tracks Yorke wrote and performed for the film. “Suspirium,” which Yorke teased last week, features the melodic theme that recurs throughout the film and its score. Fans of Radiohead’s most recent album A Moon Shaped Pool will find plenty to love here, with Yorke’s ethereal vocals gliding over a simple piano figure reminiscent of tracks like “Daydreaming” or “Codex.” The song’s accompanying video features color-shifted images of ballet dancers. 1977’s original Suspiria, directed by Dario Argento, focused on a haunted ballet academy. Suspiria (Music for the Luca Guadagnino Film) marks Yorke’s first foray into film scoring.

Taken from Suspiria (Music for the Luca Guadagnino Film) Available on XL Recordings, October 26th

Thom Yorke - #Radiohead performance on the main stage at TRNSMT festival in Glasgow

If released in 1997 this song would have been deemed some sort of alt-pop crossover attempt by RadioheadThe Bends wasn’t yet viewed as the pinnacle of 90’s alternative that it now is, and OK Computer had yet to be praised as the greatest record of the decade or all-time or even be released. It’s funny that 20 years later, the song makes a lot more sense—both logistically and melodically. Filled with sardonic sarcasm, Thom Yorke’s falsetto in full bloom, a gorgeous mellotron plus the acoustic guitar they were about to mostly abandon for two decades, the track was first played in San Francisco in 1996 and played again live this year. I never thought Radiohead would give in to any form of nostalgia, but after A Moon Shaped Pool, it fits them well.

The video incorporates themes evident on Radiohead’s landmark LP, like the isolation of transportation and an apprehension of accelerating technology, as featured on songs like “Paranoid Android.” In “I Promise,” commuters are shown numbly staring out bus windows at night. Eventually, it’s revealed that one of the commuters is nothing more than an animatronic head propped up against the window, where it views and processes what it’s witnessing.

When the android attempts to drift off to sleep, memories and dreams of a crying woman stir it awake. In an unsettling conclusion, it causes the android to have an emotional response to his thoughts. The video ends with the robot head weeping on the bus seat.

The video was directed by Michal Marczak,

I Promise is one of 3 previously unreleased tracks from the album OK Computer OKNOTOK 1997 – 2017

Thom Yorke: “What a bunch of nutters we were…and probably still are. One of the crazy things we did was not release this song, because we didn’t think it was good enough”

Radiohead - In Rainbows

When a band you once feared dead returns out of nowhere with one of their greatest albums, it feels a little like a resurrection. So Radiohead fans around the globe enjoyed a collective rush of euphoria in the early morning hours of October. 10th, 2007, when the band emailed out downloads of their first album in more than four years.

Radiohead worked on In Rainbows for more than two years, beginning in early 2005. In mid-2006, after their initial recording sessions with new producer Spike Stent proved fruitless, the band toured Europe and North America performing In Rainbows material before re-enlisting their longtime producer Nigel Godrich. The album is more personal than previous Radiohead albums, with singer Thom Yorke describing most of the songs as his versions of “seduction songs”. Radiohead incorporated a variety of musical styles and instruments, using electronic instruments, string arrangements, piano, and the ondes Martenot.

As In Rainbows hit the inboxes of everyone who’d pre-ordered it — for a price of the buyer’s choosing, in a somewhat revolutionary show of goodwill on Radiohead’s part .

In Rainbows  the seventh studio album  their first release after their recording contract with EMI ended with their previous album Hail to the Thief (2003). It was a surprise in several senses, and many of them had nothing to do with the sounds contained therein. After a brief hiatus, some public struggles to find their way forward in the studio, and a blossoming of side projects that suggested the band could be finished, the biggest surprise at that time was that a new Radiohead album existed at all. The band also released In Rainbows without a label, announced it just 10 days before its release, and didn’t share any songs ahead of time a unusual and minimal rollout by today’s standards and practically unheard of in that time . Even more radical was the pay-what-you-want scheme, which set off all kinds of debates about the viability of such a plan for smaller artists and the value of recorded music going forward.

In conjunction with its release and the absence of a record-label middleman, the payment-optional approach was Radiohead’s way of both accepting and subverting the reality of album leaks, which had compromised the rollout of their previous LP. Thom Yorke and friends weren’t about to have college radio stations blasting lo-fi MP3s of their new album weeks before the release date again. By tightly controlling everything except the price point, the band seemed to be telling listeners, “OK, you can have the music for free if you wish, but you’ll have it on our terms.” Not that the band ever really risked losing money on this gambit. Hardcore fans like myself shelled out big bucks for deluxe vinyl with an entire second CD of music, a package that ensured Radiohead would still be richly rewarded for their efforts. And when the experiment ran its course and TBD Records gave In Rainbows a conventional physical release the following year, it still sold enough copies to debut at #1 in the US and UK, rendering the project a win for Radiohead on all commercial fronts.

The strategy was fascinating and worthy of examination, but it unfortunately came to overshadow the album’s creative achievements. For students of the music business and most casual observers, the mode of release is the album’s legacy. In Rainbows was another batch of classics and consider how they fit within the arc of the band’s catalogue. Not including “Last Flowers”, which Yorke recorded in the Eraser sessions, the In Rainbows sessions produced 16 songs. After the 56-minute, 14-track Hail to the Thief, Radiohead wanted their seventh album to be concise;[ they settled on ten songs, saving a further six tracks (not counting short instrumentals) for the limited edition “discbox” release. Fans could order a limited “discbox” edition from, containing the album on CD and two 12″ heavyweight 45 rpm vinyl records with artwork and lyric booklets, plus an enhanced CD with eight additional tracks, digital photos and artwork, packaged in a hardcover book and slipcase. The “discbox” edition was shipped on 3rd December 2007. In June 2009, Radiohead made the second In Rainbows disc available for download on their website for £6

There are days when In Rainbows sounds like the best Radiohead album. It’s definitely in contention with 1995’s The Bends as the band’s most approachable, compulsively listenable release — the one you can just put on and enjoy without turning it into a full-blown immersive experience, the one that will meet you wherever you’re at and be beautiful in your presence. It absolutely holds together as a coherent statement, 10 songs inspired by related themes and woven from a shared sonic fabric. Yet you never get the sense you’re beholding some epic musical journey á la OK Computer or Kid A, the other albums I’m most likely to name as Radiohead’s crowning achievements. .

That In Rainbows sounded this way was nearly as unexpected as its method of release. Here was their poppiest, most guitar-based collection of songs in more than a decade, a pronounced swerve away from the chilly electronics and crushing paranoia that had been a hallmark of their sound since OK Computer and swallowed it up completely on Kid A and Amnesiac. In hindsight, the group had already edged back toward guitars on 2003 career overture Hail To The Thief, an album that begins with the hard-rocking “2+2=5″ and includes the soaring career highlight “There There” among other six-string excursions. But those were part of a wide-ranging patchwork, whereas this album largely nudged electronics into the background in favor of an upbeat, organic sound, frequently accented by Jonny Greenwood’s orchestral arrangements but firmly grounded in the sound of a guitar-driven rock combo.

In Rainbows presented Radiohead with an unprecedented warmth as it found their singer exploring a more mature version of the sad sack from “Creep.” There are bittersweet tracks, like the fatalistic torch song “Nude” and the brisk yet self-loathing schoolyard chant “15 Step” and the clattering power ballad “Reckoner,” a treatise on facing down death. And there are angry tracks, like the powerhouse rock rave-up “Bodysnatchers” and the acoustic-orchestral pocket suite “Faust Arp.” No song ever fully gives into its darker impulses, though. The feeling when the band queues up “15 Step” or rips into “Bodysnatchers” in concert is pure visceral elation, and the lingering memory of “Nude” and “Faust Arp” and especially “Reckoner” is not ache so much as aching beauty.

And then there are the love songs. Most of the favorite tracks on In Rainbows are the ones on which Yorke risks an emotional wipeout by giving himself over to entirely to breathless affection, songs that revel in real or imagined romantic bliss even as they acknowledge life’s bitter realities. “Weird Fishes (Arpeggi)” gorgeously captures the feeling of being possessed by attraction only to be left unsatisfied yet again, its plaintive guitar needlework building to a transcendent climax then careening off a cliff and into the depths. The darkly swooning “All I Need” traces similar paths; as Yorke professes his unrequited desire for a woman who seems to be missing him in plain sight, the song’s remarkably straightforward structure culminates in an overwhelming wave of melancholy.

“House Of Cards,” Radiohead’s idea of a sexy slow jam, is probably the tenderest song in Yorke’s catalog. “Jigsaw Falling Into Place” details the flickering passion of a barroom flirtation against a locomotive backbeat that very much recalls a bar band. And as In Rainbows draws to a close, the deconstructed piano ballad “Videotape” returns to the themes of fleeting ecstasy and creeping death. The lyrics are basically Yorke putting a morbid twist on Lou Reed, realizing this “perfect day” with a friend or lover will be part of the highlights montage when his life flashes before his eyes.

Many of us have had a similar epiphany moment while listening to In Rainbows. One last surprise to consider is how well this album holds up 10 years later. It felt like a private gift at first, overflowing with delights but too minor in scale and conservative in style to qualify as the latest Radiohead masterpiece. To return to it more than any other Radiohead album, and its tracklist is as stunning front to back as any of the group’s other elite LPs. A decade down the line, with two more albums in the rearview, it’s becoming increasingly clear that In Rainbows deserves to be in the conversation when discussing Radiohead’s finest recorded work.

The release of Radiohead‘s 20th anniversary expanded reissue OK Computer: OKNOTOK, the band shared videos for the two of three previously unreleased songs, “I Promise” and “Man of War.” Now, the third song, “Lift,” .

The three songs were not entirely new to fans, but had only been performed live and never released officially. The album also includes remasters of the original OK Computer record, as well as eight B-sides.

It’s been a long run-up to the release, with Radiohead first hinting that something was coming in April earlier this year, when mysterious posters began popping up in cities around the world. The move got fans speculating on Reddit about what the posters might signal, with many quickly and correctly foreseeing a 20th anniversary release for OK Computer. 

Radiohead collaborator Stanley Donwood helped stoke the mystery by posting on social media that an upcoming project is “soon to be real,” followed by photos of scaffolding.

At the beginning of May, the band then posted a video of a child singing what seemed like alternate lyrics to “Climbing Up the Walls” with some retro graphics. Midway through, the words “Program: radiohead” appear at the top and, shortly thereafter, “0 OK, 0:1″ turn up at the bottom. It was revealed that the reissue is dedicated to the memory of frontman Thom Yorke’s late ex-partner, Dr. Rachel Owen.

Radiohead at Glastonbury

Radiohead headlined the Pyramid Stage of Glastonbury 2017 on Friday night with an astonishingly mesmerising – if not a little unruly – set in what resulted in an utterly compelling two hours and 25 minutes.

The performance came on the 20th anniversary of Radiohead’s first headline set at Glastonbury, a reminder of the reissue of the iconic album ‘OK Computer’ and a statement of intent of the band’s utter dominance.

Absorbing, challenging and achingly beautiful – Radiohead delivered a typically Radiohead sort of set for Glastonbury’s opening night. The Oxford quintet emerged, bathed in white light, to the haunting piano refrain of Daydreaming, from last year’s A Moon Shaped Pool album.

Two hours and 25 songs later, they closed with Karma Police, singing: “For a minute there, I lost myself.”

Such is their confidence, Radiohead’s set list was nothing short of experimental, eclectic and downright enthralling. Tracks such as ‘No Surprises’ tempted Thom Yorke into a brief political outburst when he ominously pleasured the crowd with “see you later, Theresa” as the song, with lyrics such as “bring down the government, they don’t speak for us,” came to a close.

Opening with ‘Daydreaming’ from 2016 record A Moon Shaped Pool, the band indulged fans with favourites such as ‘Airbag’ and the aptly titled ‘Pyramid Song’ before Yorke couldn’t resist busting out his new dance moves during a revised version of ‘Idioteque’.

Encore one saw the likes of ‘No Surprises’, ‘Nude’, Paranoid Android and Fake Plastic Trees before the second and final encore welcomed the three big hitters: Lotus Flower, ‘Creep’ and ‘Karma Police’ the last of which left the crowd and Yorke singing: “For a minute there, I lost myself.”

Thanks to faroutmagazine

Radiohead are in full on nostalgia mode around the 20th anniversary of their career-defining “OK Computer”, album release due the end of this month ,  they’ve just dished out a live version of an outtake that has gone largely under-appreciated in the wake of the album’s release.

“Normally, I don’t think we’re the sort of people to look back, but it was interesting when we did…” Thom told the crowd, adding “what a bunch of nutters we were, and probably still are.

“One of the crazy things we did was not release this song, because we didn’t think it was good enough,” he finishes, before easing gently into a track that not many Radiohead fans has heard live for over two decades.

Listening to the track side by side, Thom’s powerful yet delicate voice sounds as if it could have been plucked from 20 years ago, too – or perhaps even a little richer with age. Either way, this is how an anniversary celebration is supposed to be done.

“I Promise” is one of 3 previously unreleased tracks from the album OK Computer OKNOTOK 1997 – 2017 – 20th Anniversary album release.

Photo credit: Danny Clinch

When Radiohead releases OK Computer: OKNOTOK, an expanded edition of their groundbreaking 1997 album O.K Computer in June, fans will finally hear three tracks that have long say in the band’s vaults and brains.

Though previously unreleased, the three tracks, “Lift,” “I Promise” and  “Man Of War” won’t be completely unfamiliar to fans. “Lift” has had a regular spot in 1996 set lists , when it became a fan favorite, and was resurrected on tour in 2002. Radiohead started tinkering with it again in 2014, while they began work on 2016’s “A Moon Shaped Pool” .

According to fan site Green Plastic frontman Thom Yorke said he wasn’t happy with their live performances of “Lift” in the ‘90s, and even recorded a few versions during their sessions for OK Computer but never released it. Yorke wanted to air it out before the band began dissecting it. They toyed with putting versions it on Kid A in 2000 and “Amnesiac” in 2001, but it never came to fruition.

“We haven’t lost the song. We played it too much in a certain way that didn’t work in my opinion,” he said. “It didn’t feel right. So we need to approach it in a different way but at the time of OK Computer it was impossible to get into rearranging it because everyone had fixed ideas on what to play and we’d all just got into a habit we couldn’t break, like staring too long at strangers, know what I mean?”

Although guitarist Ed O’Brien called the song “a bogs—e B-side and we were very happy to leave it off the album,”  Radiohead unveiled a slower, more lyrically polished version of “Lift” in Lisbon, Portugal, and at a few other shows in 2002. The update also notably removes mention of Thom, the person being saved from a stuck elevator.

As recently as 2015, while confirming that the band had been working on the tune again, guitarist Jonny Greenwood told the Dutch website 3voor12 that such resurrections are common practice for Radiohead albums.

“What people don’t know is that there’s a very old song on each album, like ‘Nude’ on In Rainbows. We never found the right arrangement for that, until then. ‘Lift’ is just like that. When the idea is right, it stays right. It doesn’t really matter in which form.”

Like “Lift” and “Man Of War” both of which will also be included on the reissue of Radiohead’s  O.K Computer OKNOTOK  a reissue marking the 20th anniversary of O.K Computer, “I Promise,” which you can listen to above, was a regular on the set lists of the ’90s.

In particular, the song was played on tour in 1996, but never to return to performances or see an official release, though it has long been circulated by fans on bootlegs. Despite a large swath of unreleased Radiohead songs, all three were among those most widely topping fan’s wish lists.

“I Promise,” however, is more personal than the other two songs that are getting their first official airing, as well as the bulk of 1997’s OK Computer. Where the rest of the coming two-disc collection revolves around more abstract ideas like technology, globalization and aliens, “I Promise” seems like it might follow a couple’s argument, with the narrator’s pledge to do better.

Several fan favorites will be among the three previously unreleased tracks that will grace Radiohead’s 20th anniversary reissue O.K Computer OKNOTOK iincluding “Man of War,” .

Marking the anniversary of their groundbreaking 1997 album OK Computer, the two-disc set will also include “I Promise” and “Lift.” All three tracks, though never officially released, were setlist mainstays in the ’90s, and have floated around on bootlegs for years. The song was written around the time the band released their second album, “The Bends” , in 1995. It has alternately been called “Big Boots” or “Man o’ War.”

According to the fan site, Green Plastic, the band tried to record it several times, including for The Avengers soundtrack, but were never satisfied with the results. They were seen working on it in their 1998 documentary, Meeting People Is Easy, but it had been left in the vaults because, as frontman Thom Yorke told MTV’s 120 Minutes, they “couldn’t find a proper way into it.”

“We ditched it because we were so messed up and we went in, tried to do the track, but we just couldn’t do it. It was actually a really difficult period of time,” Yorke said. “We had a five-week break and all the s— was coming to the surface. It was all a bit weird – I mean we went in and tried to do this old track that we had and it just wasn’t happening at all. It was a real low point after it.”

After a week of fans speculating on what would an anniversary edition might include, many of them wonder when they’ll hear the updated versions of these previously unreleased tracks, like “I Promise,” live. Radiohead will begin the European leg of its 2017 tour on June 7th.

XL Recordings

You can pre-order OK Computer: OKNOTOK, which will be released on June 23rd, on Radiohead’s website.


Image result for radiohead 2016

There was a lot of trepidation with regards a new Radiohead album. 2011’s The King of Limbs was a great album but not up to the lofty heights of their previous oeuvre. A Moon Shaped Pool had such build-up and hype that it absolutely had to deliver the good. When lead single “Burn the Witch” arrived; all those anxieties and tensions dissipated. Nervy, politicised and string-laden: a golden Radiohead track that mixes the orchestral touches of Kid A and the dark undertones of Hail to the Thief. Complete with a Trumpington-inspired video and one of Thom Yorke’s finest vocals in years – the Oxford legends back to their very best.

Who knows what a “low-flying panic attack” actually is (a drone? an airborne virus?), and who cares if that stabbing string arrangement lends this single more jittery paranoia than its lyrics. Burrowing deep into the language of English folk music, Radiohead rewrite “Karma Police” for the new millennium, as if gobsmacked that this sentiment is still relevant twenty years later.

Radiohead Burn the Witch