Radiohead’s Video “Daily Mail” Shot at Bonnaroo

Here’s a music video for Radiohead’s Live From the Basement single “Daily Mail”, shot at this year’s Bonnaroo Festival in Tennessee. Directed by Matt Ornstein, it’s a time-lapsed clip of a bunch of festival footage soundtracked by the audio from Radiohead’s live performance of the song– watch it below.

After The Gold Rush: Patti Smith and Thom Yorke – By Rolling Stone

After the Gold Rush is an original song by Neil Young (1970) included in the Patti Smith album “Banga”, it was released in June 2012. Hurry up, listen. This file will be destroyed at anytime.// After the Gold Rush es una canción original de Neil Young (1970) incluida en el disco de Patti Smith “Banga”, él que fue lanzado en Junio de 2012. Apúrate, escucha. Este archivo se destruirá en cualquier momento.

Patti Smith, ‘After the Gold Rush’
Smith’s latest album, ‘Banga,’ closes with a tender cover of Neil Young’s 1971 classic. “I love covering Neil’s songs because I can sing them in the same key,” she says.

Thom Yorke, ‘After the Gold Rush’
Radiohead’s frontman is another famous fan of the environmentally themed song. He’s covered it several times, including at the 2002 edition of Young’s Bridge School Benefit, heard here.

What Radiohead Teaches Us About Musical Innovation

By Sam McNerney | Jul 01, 2012
The Creativity Post

Synopsis

What makes a great musician or band great? From an evolutionary point of view, it might come down to pleasure.

When Radiohead sat down to record the follow-up to their 1995 album, The Bends, lead singer Thom Yorke said he wanted to create a record with, “an atmosphere that’s perhaps a bit shocking when you first hear it.” So the band traded in the guitar-driven sound of The Bends for more diverse instrumentation, “including electric piano, Mellotron, cello and other string, glockenspiel, and electronic effects and rhythm.” In addition, Yorke replaced the introspective and soul-searching lyrics that defined The Bends with a more positive tone. The result was an unconventional sound that, in the eyes of the record company, was unmarketable. Regardless of these initial concerns, OK Computer was released in June 1997 and went on to sell millions of copies, receiving near universal critical acclaim and launching Radiohead into international fame.

What’s remarkable about OK Computer is how different it is from The Bends. By any account, The Bends was a commercial and artistic success. It reached number four in the UK Album Chart and went triple platinum in the UK and Canada as well as platinum in the US and the EU. It also landed on numerous end-of-year lists and was ranked 111 on Rolling Stone’s 500 greatest albums of all time. Despite its success Radiohead chose to completely change their sound. Why?

Radiohead has never been fully satisfied with their direction. However, this musical malaise drives them to craft novel songs that challenge the listener. Fans of the band know that this is precisely what makes them great. Each album is an innovation, not an imitation. Whereas ten years of Nickelback singles sound identical, the difference between “Fake Plastic Trees” and “Paranoid Android” is far-reaching.

Radiohead, of course, isn’t the only band compelled to constantly reinvent its sound. Nor is Thom Yorke the only musician who despises the musical status quo; Igor Stravinsky, Bob Dylan, and others also come to mind. What unites these creative geniuses is their yearning to replace the expected with the unexpected. As Yorke would say, they want to shock the audience.

When viewed from an evolutionary perspective, musical innovation appears odd. It’s obvious why we are motivated to eat, drink and reproduce; the origins of our desire to push musical boundaries, on the other hand, are less clear, especially considering that spending a lifetime crafting songs doesn’t appear to serve any adaptive advantages whatsoever.

In trying to understand why people like Thom Yorke are intrinsically motivated to innovate their craft, it helps to first understand why humans enjoy music in the first place. One line of reasoning, which many cognitive scientists endorse, is that our appreciation for music, as well as our ability to create it, is a byproduct of evolution. That is, music is the product of several cognitive mechanisms that are functional outside of their intended purpose. Steven Pinker, for instance, famously called music ‘auditory cheesecake’ to suggest that music stimulates our auditory system in the same way that delicious food stimulates our taste buds.

If music is about auditory pleasure (as a result of a byproduct or otherwise) then good bands write songs that “[stimulate] our senses in novel ways.” Pop music does this especially well. Regardless of your music preference, the catchiness of the latest Rihanna or Lady Gaga single is undeniable. However, Rihanna and Gaga songs illustrate that the pleasure we receive from pop music is usually fleeting. Although pop songs are initially more pleasurable as a function of exposure, they eventually reach a peak and we enjoy them less and less thereafter. In fact, after enough further exposures they can even be annoying – no one has ever rejoiced in having a song stuck in their head. Anyone who listens to music understands this from experience and knows that this pattern is certainly not limited to western pop music.

Great bands and musicians that have transcended time and sustained interest over long periods of time follow a different trajectory. Classics such as “The Rite of Spring” and “Like a Rolling Stone” were bemoaned at first because they were exceedingly novel and complex. Whereas pop singles share many similar components (i.e., length, bpm, time signature and placement of choruses and verses), the work of Dylan, Stravinsky and other musical geniuses typically goes against musical norms by introducing new and more complex sounds. With enough exposure, though, listeners adjust and eventually appreciate the novelty. This is why classic aren’t fleeting: innovative instrumentation and complex sounds give us something different with each listen. That is, we don’t get sick of “Paranoid Android” because there is something new with every listen; it takes many repeats for overabundance to downgrade its value.

The implication is that great bands and musicians are masters at reverse engineering our cognitive capacities for music in the same way bakers are masters at reverse engineering our taste buds. In both cases, they are taking advantage of what the brain finds pleasurable. Like a good chef, Radiohead’s eminence might be a result of their superior taste. What’s novel to us is stale to them.

The evolutionary mechanics behind Radiohead’s musical aspirations are not completely understood, of course, and we might never fully understand why some musicians and bands spend their entire lives creating music. But it appears that a byproduct of our auditory system (in addition to other distinct cognitive processes) gives us a craving to seek out and create novel sounds. The members of Radiohead likely feed off of this evolutionary quark in a way that motivates them to innovate their music for the better.

• A special thanks to Mark Changizi for helping me out with this post. Check out this paper of his, which informed some of my ideas here.

Sam McNerney Column: The Cognitive Philosopher Exploring all things good in cognitive science with a philosophical lens

Sam McNerney graduated from Hamilton College where he earned a bachelors in Philosophy last May. His passion is reading and writing about cognitive psychology (and Lady Gaga.)

Contact Sam McNerney: http://www.creativitypost.com/authors/profile/48/Sam%20McNerney

Radiohead Reschedule Shows After Toronto Collapse


Photo by Mitch Manzella

String of dates postponed until September
By Carrie Battan
Pitchfork
on June 27, 2012 at 10:22 a.m.

Following the recent Toronto stage collapse that killed drum technician Scott Johnson, Radiohead announced that they would need to postpone a string of June and July tour dates due to damage to their light show and stage setup. Those dates have been rescheduled for late September. All original tickets are valid for the rescheduled dates, and there are some refund options– find the new schedule below.

Drummer Phil Selway posted on the band’s website, “Thanks to all of you who have sent messages of support over these past couple of weeks. Scott has touched many people’s lives and all your sentiments are testament to this. Our thoughts and love remain with Scott’s family.”

Radiohead:

07-01 Florence, Italy – Parco Delle Cascine
07-03 Bologna, Italy – Piazza Maggiore
07-04 Codroipo, Italy – Villa Manin
07-06 Berlin, Germany – Wuhlheide
07-07 Berlin, Germany – Wuhlheide
07-09 Canton de Vaud, Switzerland – Quarry of St Triphon
07-10 Nimes, France – Les Arenes #
07-11 Nimes, France – Les Arenes #
07-13 Kobetamendi Park, Spain – Bilbao BBK Live
07-15 Lisbon, Portugal – Optimus Alive Fest
07-25 Taipei, Taiwan – Nanang Exhibition Hall
07-27 Jisan, South Korea – Jisan Valley Rock Festival
07-29 Niigata, Japan – Fuji Rock Festival
09-20 Canton de Vaud, Switzerland – Quarry of St Triphon
09-22 Rome, Italy – Hyppodrome Capanelle
09-23 Florence, Italy – Parco Delle Cascine
09-25 Bologna, Italy – Arena Parco Nord
09-26 Codroipo, Italy – Villa Manin
09-29 Berlin, Germany – Wuhlheide
09-30 Berlin, Germany – Wuhlheide
10-06 Manchester, England – Manchester Arena
10-08 London, England – o2 Arena
10-09 London, England – 02 Arena
10-14 Amsterdam, Netherlands – Ziggo Dome
10-15 Cologne, Germany – Lanxess Arena
10-18 Antwerp, Belgium – Sportpaleis
11-06 Auckland, New Zealand – Vector Arena $
11-09 Brisbane, Australia – Entertainment Centre $
11-12 Sydney, Australia – Entertainment Centre $
11-13 Sydney, Australia – Entertainment Centre $
11-16 Melbourne, Australia – Rod Laver Arena $
11-17 Melbourne Australia – Rod Laver Arena $

# with Caribou
$ with Connan Mockasin

Radiohead Drummer Philip Selway Issues Statement About Stage Collapse Victim


Photo via Instagram user sufiapeace

PITCHFORK

“We have all been shattered by the loss of Scott Johnson, our friend and colleague.”

By
Evan Minsker
on June 17, 2012 at 04:58 p.m.

Radiohead drummer Philip Selway has released the following statement regarding Scott Johnson, the drum technician who was killed yesterday by a collapsed stage in Toronto:

We have all been shattered by the loss of Scott Johnson, our friend and colleague. He was a lovely man, always positive, supportive and funny; a highly skilled and valued member of our great road crew. We will miss him very much. Our thoughts and love are with Scott’s family and all those close to him.

Artists:
Radiohead, Philip Selway
Tagged:
Philip Selway, Radiohead

Stage Collapses Before Radiohead Show in Toronto


Thom Yorke of Radiohead performs during Coachella in Indio, California.

One person dead, three injured

By Rolling Stone
June 16, 2012 4:42 PM ET

The stage at Downsview Park in Toronto collapsed this afternoon just hours before Radiohead were scheduled to play to a sold-out crowd, CBC News reports.

The band was not onstage at the time, but one person was killed and three others were injured in the collapse. The concert, whose gates were scheduled to open at 5 p.m., has been cancelled.

Toronto fire captain Mike Strapko told CNN that a “scaffolding-type structure collapsed” some 40 to 60 feet above the main stage area as the victims were setting up for the concert around 4 p.m. There were no strong winds or other dangerous weather conditions at the time.

A statement on Radiohead’s website says that tickets will be refunded, and advises fans not to make their way to the venue.

The accident comes after a number of recent stage collapses at high profile shows raised concerns about safety at concerts. Seven people were killed at the Indiana State Fair last August when high winds knocked down scaffolding and speakers, and just last Saturday, the Electric Daisy Carnival in Las Vegas was shut down by windstorms, forcing the cancellation of some headlining sets.

Radiohead Push Boundaries, Salute Jack White at Bonnaroo Music Festival


Thom Yorke of Radiohead performs at the Bonnaroo Music and Arts Festival in Manchester, Tennessee.

By Rolling Stone
June 9, 2012 9:55 AM ET

When Radiohead first played Bonnaroo in 2006, they did it with a set full of back-catalog staples and a handful of new songs. Never ones to repeat themselves, the band flipped that script on Friday night when they returned to headline the Manchester, Tennessee festival, turning in an epic 25-song set that slanted heavily towards new material.

While Thom Yorke and Co. weeded out a few thousand hit chasers in the crowd by eschewing well-known favorites like “Fake Plastic Trees” and “No Surprises,” they held tens of thousands more spellbound with a textured tableau of intertwining rhythmic arrangements — augmented by the addition of auxiliary drummer Clive Deamer – and nuanced sonics, with some latter-day catalog cuts emerging as concert anthems. When Yorke howled out the chorus of In Rainbows standout “Weird Fishes/Arpeggi,” he cued an en masse singalong that sounded like a tidal wave ripping across a human sea of 80,000.

Complimenting the band’s case for its post-major-label forays into art-rock craftsmanship was a stunning stage production that was a work of art in and of itself. With band members backlit by two towering video walls, a dozen tile-like screens shifted shape overhead and changed color with thrilling results. Wild-card set list selections included “I Might Be Wrong,” “House of Cards,” and “Kid A”; while live staples like “Idioteque,” “Karma Police” and fevered-pitch show-closer “Paranoid Android” were among the oldies represented. Yorke also dedicated “Supercollider,” a new song the band is currently road-testing, to Jack White, hinting at a very recent collaboration. Perhaps a Radiohead release on White’s Third Man Records is on the horizon?

Sharon Jones and the Dap Kings took to the What Stage earlier in the afternoon, whipping a still-filling field of festivalgoers into a frenzy with their idiomatic R&B pastiche. Hearkening soul icons from Aretha Franklin to Sam Cooke and Screamin’ Jay Hawkins, Jones and her dapper 10-piece backing band transformed the sprawling venue into a sweaty sock hop. The moves on display throughout the crowd were no match for the fire-and-brimstone footwork of the 56-year-old Jones, who sported a sparkly blue romper and danced as though she were walking over imaginary hot coals. Whether she was delivering elongated band introductions, setting off audience-wide clap-alongs in double time or simply just belting out woozy, broken-hearted ballads and uplifting party jams from the gut, Jones put on a thorough masterclass in showmanship.

The Avett Brothers followed with a set of crowd-pleasers that included “I and Love and You,” “Head Full of Doubt/Road Full of Promise,” “Murder in the City” and “Kick Drum Heart.” But it wasn’t all about them – they also covered a pair of Doc Watson tunes (“Blue Ridge Mountain Blues” and “Down in the Valley to Pray”) in a fitting tribute to the late guitar pioneer. “Before we go onstage, we remind each other to let the game come to us, let the show be what it’s going to be,” Scott Avett told Rolling Stone after the set. “And I felt like it was solid to the bone, man.”

“This is the earliest we’ve ever played,” Tune-Yards’ Merrill Garbus told a zealous early-afternoon crowd at This Tent. “Pretend this is Hawaii.” It wasn’t hard to do, given the whimsical freak-folk chanteuse’s tropical sonics, junk-yard percussion, chiming guitars and looping vocals. With an adept three-piece band in tow, Garbus’s compositions had a more organic feel live than they do on her 2011 LP, Whokill. It may have been early in the day, relatively speaking, but the Tune-Yards’ disjointed-by-design amalgam of world, soul and electro-pop was a perfect fit for Bonnaroo, often competing in volume with the crowd. When Garbus yelped and screamed, the crowd yelped and screamed back louder.

“We came up from Atlanta this morning on two buses! We’re going to put on a crazy show for you Bonnaroo, something you’ve never seen before!” announced Ludacris, who rocked Bonnaroo’s This tent so hard that festivalgoers were climbing the surrounding chainlink fence to just to catch a glimpse of the Atlanta rapper’s set. “Talk about being on everyone’s Number Ones! I’ve got my own fuckin’ Number One!” he taunted, launching into ‘Shake Your Money Maker’ while his dancers greased up a 15-foot pole with some Cirque du Soleil-worthy grinding. The hour-and-a-half-long set neatly recapped the last 12 years in radio rap, complete with mash-ups of Luda’s best features, from Usher and Lil Jon’s ‘Yeah!’ to Fergie’s ‘Glamourous.’

Late-night at That tent, Mos Def (now Yasiin Bey) and Talib Kweli resurrected Blackstar and brought along Hi-Tek for a Reflection Eternal reunion. Clad in white pants and a white oxford button-up, Bey displayed some nimble moves onstage and kept the crowd at ease with his buttery flow well past 1 a.m. The highlight came when both rappers led the crowd in a singalong to Biggie’s “Juicy,” then paid tribute to J. Dilla and Whitney Houston as Gil Scott-Heron’s “We Almost Lost Detroit” played in the background.

Umphrey’s McGee brought Bonnaroo back to its roots with a four-hour affair that blew through their scheduled 4 a.m. stop time by a full two hours. In addition to ripping through their originals, which stacked interlocking jams on top of heavy rock, the band offered a dub version of Pink Floyd’s “Breathe” and a rocked-out rendition of AC/DC’s “Thunderstruck,” and brought out Big Gigantic for a surprise, 25-minute “friendly takeover” in between sets. “We figured that, playing from 2 a.m. to 6 a.m., if we didn’t stop, there would’ve been a weird moment where we’d have to do a drum solo piss break,” Umphrey’s Brendan Bayliss told Rolling Stone.

Armed with a set-list that stretched from their disco-leaning 2007 LP to last year’s heavier Ritual Union, Swedish electro-funkers Little Dragon breezed through their premiere Bonnaroo gig, keeping fans on their toes while furiously improvising on drum kits and synths. After dashing over to This Tent just in time to catch the end of the group’s set, the Red Hot Chili Peppers’ Flea and Christopher “McLovin” Mintz-Plasse boogied in the backstage VIP area.

As moody as it was electrifying, one of Friday’s most impressive sets came courtesy of New York indie auteur St. Vincent at That Tent. Singer-guitarist Annie Clark’s finely crafted tunes sound like Roxy Music molesting ABBA, as officiated by Kate Bush and David Byrne. Clark’s inventive command of wide-screen soundscapes, and her killer lighting show to match, made for perfect the lead-in to Radiohead as the sun set over Manchester.

Bonnaroo continues Saturday with sets from the Red Hot Chili Peppers, Alice Cooper, Skrillex and more.