Thom Yorke released a new album distributed via BitTorrent (download it now!)

Thom Yorke

Thom Yorke

The mystery of Thom Yorke’s secret new record has been solved: the Radiohead frontman has announced the release of his sophomore solo album, Tomorrow’s Modern Boxes.

Once again, Yorke has come up with an inventive way to distribute the album. It’s being released through BitTorrent, a move which he says, if successful, could revolutionize the music industry. Click here to download the album now.

“It’s an experiment to see if the mechanics of the system are something that the general public can get its head around,” Yorke explained in an issued statement. “If it works well it could be an effective way of handing some control of internet commerce back to people who are creating the work. Enabling those people who make either music, video or any other kind of digital content to sell it themselves. Bypassing the self elected gate-keepers. If it works anyone can do this exactly as we have done.”

As of late, Yorke has become a particularly vocal critic of online music distribution, calling into question the royalty rates of streaming platforms such as Spotify. He and Radiohead carried out a similarly innovative release with the band’s 2007 album, In Rainbows, introducing the industry to the pay-what-you-want format.

Tomorrow’s Modern Boxes serves as the follow-up to Yorke’s debut solo LP, 2006’s The Eraser. The new album spans eight tracks and can be purchased digitally for just $6.00. It’ll also be available for purchase on 180 gram white vinyl.

The opening track “A Brain In A Bottle” and its corresponding video can be downloaded for free here

Tomorrow’s Modern Boxes Tracklist:
01. A Brain In A Bottle
02. Guess Again!
03. Interference
04. The Mother Lode
05. Truth Ray
06. There Is No Ice (For My Drink)
07. Pink Section
08. Nose Grows Some02 Guess Again!

 

Radiohead launch PolyFauna app

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The app features imagery and sounds from ‘The King Of Limbs’ track ‘Bloom’
Writing about the app at Radiohead.com, Thom Yorke explained it as “an experimental collaboration between us (Radiohead) & Universal Everything, born out of ‘The King of Limbs’ sessions and using the imagery and the sounds from the song ‘Bloom’. It comes from an interest in early computer life-experiments and the imagined creatures of our subconscious.”
He then posted instructions on how to use the app, writing: “Your screen is the window into an evolving world. Move around to look around. You can follow the red dot. You can wear headphones.” The app can be downloaded through Radiohead.com.Last month, Radiohead’s Colin Greenwood said that Radiohead’s plans for a new album are “up in the air” as members of the band focus on side projects. Greenwood spoke to Drowned In Sound and revealed that he and his fellow Radiohead members are looking forward to making new music together but admitted that they are enjoying some time at home as the dust settles from touring their last album, ‘The King Of Limbs’.
Quizzed on current activity in the Radiohead camp, Greenwood says: “It’s all up in the air at the minute. Thom’s just come back from touring Atoms For Peace and he’s having some quiet time. I’m sorry to be vague but we’re all just taking it easy at the moment. Just enjoying being at home and hanging out really. But at the same time, the vibe is very much Oxford and all good! It’s like that.”Maintaining that live shows remain a long way off, Greenwood continues, “I wish I could say we were going to start work and put something out then spend 12 months on the road touring but we’re just enjoying being at home right now. We had the best time when spent the last two years touring ‘The King Of Limbs’. We all really enjoyed that. It was a really positive time. We definitely want to do it all again but we’ve just got to give it some time for the dust to settle. What I’m trying to say is everyone’s very happy and positive and looking forward to the next adventure.”

20 Best-Selling Vinyl Albums Of The Last 20 Years

20.2013_TheBeatles_Anthology_281013

The Official Charts Company has announced the 20 best selling vinyl albums in the last 20 years, and here they are from 20-1. At number 20 we have the The Beatles’ ‘Anthology 1’ Released in 1995, it was the first instalment of a trilogy set of albums by the Beatles. Comprising a mixture of 60 tracks of live performances and unreleased sounds.

19.2013_DjShadow_Endtroducing_281013

In 1996 the face of hip hop changed with the release of DJ Shadow’s ‘Endtroducing’ . The American studio album was produced under the label Mo’Wax and comes in 19th place. Despite the basic production and the high use of samples, this album is considered to be a landmark album.

17.2013_Oasis_BeHereNow_281013

Described as the second coming of The Beatles, Oasis was at the height of their fame 15 years ago. Released in 1997 ‘Be Here Now’ became Oasis’ third album and had been a highly anticipated album by their fans and critics. Being 17th top seller in vinyl comes as no surprise.

18.2013_Pulp_DifferentClass_281013

Pulp were seen to be pioneers in the Britpop movement and in 1995 ‘Different Class’ propelled the group to fame. The 5th studio album bought two singles: ‘Common People’ and Disco 2000’ both being in the top 10 in UK charts.

16.2013_NeilYoung_Harevest_281013

Canadian musician Neil Young’s ‘Harvest’ was the best selling album in the US in 1972. Doing something different within the rock genre he used London Symphony Orchestra, which helped him top the Billboard 200 album chart for two weeks.

15.2013_Prodigy_MusicForTheJiltedGeneration_281013

In 15th place Prodigy released ‘Music for the Jilted Generation’ in 1994. Focusing on electronic dance music the group remastered this album in 2008 including bonus tracks.

14.2013_Nirvana_UnpluggedinNewYork_281013

Nirvana recorded live album ‘MTV Unplugged In New York’. This was the first album released by the band since Kurt Cobain passed. This album is 14th in the countdown to number 1. It won a Grammy for Best Alternative Music album in 1996.

13.2013_Blur_Parklife_281013

Blur’s Parklife was the album that bought the band back to the forefront of the Britpop movement in 1994. Certified four times platinum in the UK, Blur fought off competition from Oasis with hit singles like: ‘Girls and Boys’ and ‘To The End’. Frontman Damon Albarn said Parklife was “the travels of the mystical lager-eater, seeing what’s going on in the world and commenting on it.”

12.2013_StroneRoses_SecondComing_281013

‘Second Coming’ was the second studio album by the Stone Roses. It took the band 2 years to record the album, released in 1994. At number 12 the band sold 1 million copies. The album has an unusual track listing with 99 tracks, 77 of which are silent after the song ‘Love spreads’.

11.2013_PaulWeller_StanleyRoad_281013

The third studio album by Paul Weller: ‘Stanley Road’ is at number 11. The album took its name from a road where he grew up in Woking. Paul told the BBC he hopes he can one day create an album as perfect as this one.

10.2013_Prodigy_TheFatOfTheLand_28101310.

As of 2012 the Prodigy’s ‘Fat Of The Land’ has sold 10 million copies worldwide despite being released in 1997. Drawing inspiration from the old English phrase, the band will definitely be living well. The album comes in the countdown at number 10.

9.2013_Queen_MadeInHeaven_281013

‘Made In Heaven’ released by Queen in 1995 was the 15th and last album that featured the late Freddie Mercury. The album debut at number one in the UK and went four times platinum, selling 20 million copies worldwide.

8.2013_MassiveAttack_ProtectionNoProtection_281013

Massive Attack’s Protection/No Protection is the second album remixed by British producer Mad Professor. This album bought a fusion of different sounds and genres together.

7.2013_Beatles_Liveatthebbc_281013

‘Beatles Live At The BBC’ is rated 7th highest selling vinyl. Made in 1994 it is an album dedicated to performances by the Beatles which were originally broadcast by the BBC in 1963 to 1965.

6.2013_Leftfield_Leftism_281013

Leftfield’s Leftism is the first album by electronica musicians Paul Daley and Neil Barnes. Released in 1995 by Columbia Records the album features reworked songs and some new original pieces.

5.2013_Radiohead_KingOfLimbs_281013

The King of Limbs by Radiohead was a self-released album in 2011. With it being their 8th studio album the band let little information out before its release. The album was originally released as an MP3 download followed by a CD. It’s 5th in the best-sellers list.

4.2013_TRAVIS_TheInvisibleBand_281013

The Scottish indie pop band Travis released ‘The Invisible Band’ in 2001. The name of the album refers to the band having famous and influential songs but not being regarded famous themselves.

3.2013_Portishead_dummy_281013

‘Dummy’ is Portishead’s debut album. Based in Bristol the group made the album in 1994 and later won the Mercury music prize in 1995.

2.2013_OASIS_DefinitetlyMaybe_281013

With ‘Definitely Maybe’, Oasis went straight to number one in 1994 in the UK, gaining positive commercial and critical success. Oasis helped revitalise the Britpop genre along with other groups like Blur.

1.2013_OASIS_WHATS_THESTORYMORNINGGLORY_281013

What’s The Morning Story Glory’ by Oasis is the number one selling vinyl in the last 20 years. Released in 1995 won the award for the Best British album in the last 30 years at the 2010 Brit Awards.

Thom Yorke: Spotify is “the last desperate fart of a dying corpse”

Thom Yorke

Thom Yorke – By Alex Young on October 3rd, 2013

“We are entering an age when potentially all creativity stops, the past informs the future, there is no other future.” ~ Adam Curtis

Earlier this year, Radiohead’s Thom Yorke and Nigel Godrich pulled many of their own records from Spotify, including Yorke’s solo album, The Eraser, the full-length debut by Atoms For Peace, Amok, and the full-length debut by Godrich’s Ultrai­sta. The artists cited Spotify’s unfair royalty payments and declared, “Someone gotta say something. It’s bad for new music.”

Yorke continued his crusade against Spotify during a recent interview with Mexico’s Sopitas.com:

“I feel like the way people are listening to music is going through this big transition. I feel like as musicians we need to fight the Spotify thing. I feel that in some ways what’s happening in the mainstream is the last gasp of the old industry. Once that does finally die, which it will, something else will happen. But it’s all about how we change the way we listen to music, it’s all about what happens next in terms of technology, in terms of how people talk to each other about music, and a lot of it could be really fucking bad. I don’t subscribe to the whole thing that a lot of people do within the music industry that’s ‘well this is all we’ve got left. we’ll just have to do this.’ I just don’t agree.

When we did the In Rainbows thing what was most exciting was the idea you could have a direct connection between you as a musician and your audience. You cut all of it out, it’s just that and that. And then all these fuckers get in a way, like Spotify suddenly trying to become the gatekeepers to the whole process. We don’t need you to do it. No artists needs you to do it. We can build the shit ourselves, so fuck off. But because they’re using old music, because they’re using the majors… the majors are all over it because they see a way of re-selling all their old stuff for free, make a fortune, and not die. That’s why to me, Spotify the whole thing, is such a massive battle, because it’s about the future of all music. It’s about whether we believe there’s a future in music, same with the film industry, same with books.

To me this isn’t the mainstream, this is is like the last fart, the last desperate fart of a dying corpse. What happens next is the important part.

Yorke went on to relay his recent conversation with Massive Attack collaborator Adam Curtis in which Curtis said, “We are entering an age when potentially all creativity stops, the past informs the future, there is no other future.” Yorke continued:

“And, it’s like, ‘fucking right, man.’ You know, people like us and him and Massive Attack we need to be standing together. Bullshit, it ain’t over. It’s like this mind trick going on, people are like ‘with technology, it’s all going to become one in the cloud and all creativity is going to become one thing and no one is going to get paid and it’s this big super intelligent thing.” Bullshit. It’s hard not to think about it all the time, because to me it’s the most important thing happening in music since when… it’s like when the printing press came out.”

Listen to the full interview below. Yorke’s comments about Spotify kick in around the 17:30 mark.

(2013/09/29) Reactor 105, Rulo David, Thom
Radiohead’s interviews’ archive

Atoms For Peace – AMOK + Radiohead documentary 10/10

Thom Yorke by Jeremy Cowart

Thom Yorke by Jeremy Cowart

New Yorker

Thom Yorke is one of the most popular worriers in popular music. In the documentary “Meeting People Is Easy,” made while Radiohead toured for its landmark album, “OK Computer,” and released in 1998, Yorke appears as a young man full of trepidation about becoming famous. His anxiety has since mostly abated, but his sense of displacement has not: his musical worries are now more like chess moves than like agonized referendums on his life.

While Radiohead continues to be a commercially successful group, Yorke’s newest project is an experimental rock and dance band called Atoms for Peace, which centers on him and his longtime collaborator the producer and musician Nigel Godrich. “Amok” is the group’s first full album.

Yorke’s voice is an unrelentingly beautiful thing that sometimes bothers him for precisely that quality. He sings in a strong and aspirate voice, and favors legato phrasing. His pitch is sufficiently accurate so that he uses vibrato only when he needs to—as an effect that can be drawn on for any number of aesthetic reasons. His singing is so pretty that Radiohead can sometimes lack the aggression that is a crucial aspect of much rock music, especially the average kind. The farther Radiohead has moved away from the traditional guitar-rock moves of its first two albums, “Pablo Honey” and “The Bends,” the more satisfying and comfortable the band has become. This is largely because Yorke’s voice works well in all melodic and harmonic styles. On his one solo album—“The Eraser,” from 2006—Yorke seemed happy mostly to replicate Radiohead’s choices. But “Amok” resists, amicably, the reassuring quality of his singing. As Yorke’s voice becomes more plangent, his backing tracks are increasingly fractured. While Jonny Greenwood, his most visible bandmate in Radiohead, has continued to score films (notably Paul Thomas Anderson’s “There Will Be Blood”) and expand on his wide harmonic gift, Yorke seems to be going in the opposite direction, searching for the simplest pairing of beat and melody that can successfully undergird a song. Yorke has characterized “Amok” as “a sort of dance-music record,” and though it likely won’t be filed as such, owing to its clear vocal lines, it is gloriously rhythmic.

The first time that Yorke made dance music for public consumption was in 2000, with the song “Idioteque,” from Radiohead’s “Kid A.” That track is syncopated, its rhythms audibly small and clicky, and those attributes still show up in Yorke’s work. And, while he has a reputation as a physically awkward stage presence, in the 2011 video for Radiohead’s “Lotus Flower” he abandons restraint. The clip shows Yorke in a bowler hat, a white shirt, and black pants, dancing in a focussed but intent ecstasy that recalls both Ian Curtis, from Joy Division, and Prince. The dancing represented a public shift. Radiohead fans may have been hankering for big rock anthems like “Airbag” and “Street Spirit,” but Yorke had turned away from large musical gestures and gone deep into finely articulated rhythm and texture.

Yorke’s involvement in the dance community is not shallow. He has collaborated with artists he admires, like the California producer Flying Lotus and the virtuosic Berlin production duo Modeselektor.

Last September, Yorke, Godrich, and the drummer Joey Waronker, all of Atoms for Peace, made a visit to New York. On a Friday night, Yorke played a d.j. set at the Wooly, a bar in lower Manhattan; the next day, Godrich and Yorke performed Atoms for Peace material at MOMA PS1, in Queens. At the Wooly, a modified speakeasy with antique upholstered couches and wall sconces, Yorke wore a gray T-shirt and stared at a laptop on a stand. His selections generally avoided melody, blending stretches of condensed, grainy rhythm with stomping drum-and-bass tunes from the mid-nineties. The studied cool of the crowd of models and musicians relaxed long enough for dancing to break out.

At PS1, the audience was delighted to see the band, and there was less feigned nonchalance. A little before sunset, Godrich and Yorke appeared. Godrich, who has short dark hair and wore a red Lacoste track jacket over a dark-gray T-shirt, looked a bit like a rugby player. He stood in front of a laptop, and Yorke moved out in front of him, to dance and sing, separated from the crowd by railings and several security guards. Yorke’s brown hair, gathered into a short ponytail, is flecked with gray. He wore black jeans, sneakers without socks, and a vest over a white T-shirt. Godrich began “Amok” ’s opening track, “Before Your Very Eyes,” and the crowd cheered at Yorke’s guitar line, a scratchy two-part figure that flutters down quickly, sounding both strummed and picked. Holding the mike with his right hand, Yorke raised his left hand and began to shimmy, dipping his shoulders back and forth. He sang smoothly, at the very top of his falsetto range, over the music, which turned into a series of synth chords over a scuffling beat.

For the next track, “Ingenue,” Yorke stepped back and stood next to Godrich, singing some of the lyrics from a small black Moleskine notebook. The song is built from a weepy, descending bass line that is answered by a high figure, which plays a clump of small, hard sounds that are like both live instruments and computer-generated signals. Much of “Amok” goes along these basic lines: a synthetic keyboard runs down the middle, flanked by a series of crackling drum sounds and minimal bass or guitar patterns. Very little of the record is cloudy or vague; Yorke does not lean heavily on multi-tracking his voice. “Amok” is stripped down, all points and lines. Often, it sounds like a dance remix of a Thom Yorke song.

John Frusciante "Flea"

John Frusciante “Flea”

The album is an odd beast, born of marathon jam sessions at which several musicians (including the bassist Flea, from the Red Hot Chili Peppers) contributed; the earliest was more than two years ago. But it is Yorke’s project, directed by him and Godrich, and constructed in such a way that some songs sound as if there were no live musicians involved. “Default,” one of the album’s best tracks, is a mesh of keyboard pulses and rattling wooden noises. Sounds ripple and echo around the tonal material, but there is nothing as traditional as a buildup or a breakdown—most of “Amok” simply kicks in and goes. Yorke sings in the same full voice he uses in Radiohead, though occasionally he drifts to that thinner falsetto which hangs high above all the electronics.

Live performance is central to Radiohead’s career, and when I next saw Yorke, in London a few months later, the band had recently ended a nine-month tour begun after its previous release, “The King of Limbs,” in 2011. Yorke, who is forty-four, seemed considerably more tired than he had in New York, and was wearing a leather jacket and a thick woollen sweater against an unseasonably cold English winter. He wore several chunky silver rings on each hand and rubbed his eyes repeatedly.

“I haven’t really had a break,” he said, sounding a little bit like the younger man of 1998, who had the weight of the world on his shoulders. Apart from the drain of being on tour, Yorke has reasons for fatigue. Last June, roughly in the middle of Radiohead’s tour, a metal canopy collapsed before a show in Toronto, killing one of the band’s crew members. The event seems to haunt Yorke. Because he is a member of Atoms for Peace, the group received offers to headline festivals. But he was equivocal, and seems most excited about bringing out the laptops again for a brief, three-city tour. “If we get it right, it would be different every time we do it,” he told me. “We’d add things and strip things off it. It’s something I’ve been wanting to do for ages.”

Documentary:  Radiohead – Meeting People Is Easy  10/10










 

 

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