Category: Radiohead

Ain’t It Cool News has posted several reviews of an early screening of The Life Aquatic, the new film by Wes Anderson (Rushmore, The Royal Tenenbaums). According to one scooper, one musical montage scene utilizes ‘Everything In Its Right Place’. Now, as we all know, Wes Anderson is fond of using classic pop much more than he is using modern tunes, so whether this stays in or not is anyone’s guess. We’ll know for sure come Christmas, when the film is scheduled to be released.
As a film geek, this was already tops of my must-sees this year (along with Kill Bill 2 and a new documentary by a certain Mr. Moore). This doesn’t hurt.

On his new album Live from Bonnaroo, Govt. Mule’s Warren Haynes opens his live set with Radiohead’s ‘Lucky’. The track is available as a single as well. Click here to listen to a 30-second sample at the iTunes Music Store (iTunes required, naturally).
Here’s an excerpt from an article in the New York Times about the live album-
“Live at Bonnaroo” is Mr. Haynes’s second solo album; the first, “Tales of Ordinary Madness,” appeared in 1993, when he was still relatively obscure. If to this point Mr. Haynes has been primarily known as a prodigious guitar-slinger (last year Rolling Stone ranked him among the 25 “Greatest Guitarists of All Time”), “Bonnaroo” showcases him as a singer and songwriter. The album’s 16 songs alternate his own haunting ballads (“Beautifully Broken,” “Tastes Like Wine” and “Patchwork Quilt,” a requiem for Jerry Garcia) with versions of songs by Radiohead (“Lucky”), U2 (“One”), Otis Redding (“I’ve Got Dreams to Remember”) and the Eagles (“Wasted Time”). His voice, a husky, blues-boy croon rippling with conviction, weaves together the varied material. As far as his guitar playing on the album, however, Mr. Haynes wryly described himself as a “paid accompanist.”
“I’m not a great acoustic player,” he acknowledged. “I enjoy it, and I’m getting better, but there’s nothing virtuoso about it. And I like that. It allows me to sing and interpret the songs differently. That’s part of what makes it special for me.”
On the day the album was recorded, Mr. Haynes took the stage at around noon, a time at which he would more typically be sleeping. (Characteristically, he had played late the previous night with the Allman Brothers.) The thousands of stalwart revelers staggering into the site surely were not in much better shape. Consequently, the set has an almost dreamlike feel, as if Mr. Haynes were simply playing some of his favorite songs as they came to mind.
That’s pretty much how it was. As Mr. Haynes, who had done about a dozen solo performances in his life to that point, was sketching out his set list that morning, his wife, Stefani Scamardo, who manages him and other performers, noted the brooding Radiohead song at the top. In a perfect spousal question that is really a comment, she asked, “You’re not really going to open up with `Lucky,’ are you?” Mr. Haynes, a North Carolina native who speaks in a cheerful “hey, buddy” drawl, chuckled at the recollection. “Well, yeah,” he replied, “I think I am.”
You can read the complete article here.

The Scotsman has an interesting article on artist Susan Philipsz, who does installation art, featuring Radiohead. An excerpt…
The voice of Susan Philipsz comes singing down the telephone line from Berlin, clear, untrained, rather melancholy and as if she?s singing to herself, but with a sense of purpose. It has a muting effect. The song ends, and there?s a click of a mouse on a computer. “Did you get that?” asks Philipsz. “I held the mobile up to the computer speakers. I?m not very technical”.
The song is just one of many sound installations that Glasgow-born, Berlin-based Philipsz has created in the past decade since graduating with an MA in Fine Art from the University of Ulster.
Her lonely, detached songs won her a nomination for the Beck?s Futures Prize this year, and feature in its exhibition, which hits Glasgow this week after being shown at London?s Institute of Contemporary Arts. Philipsz didn?t win the prize, but received a share of the ?20,000 pot.
Her work is about temporarily altering listener?s perceptions. It?s what makes her an artist rather than a singer. Much of her work has involved hijacking public address systems, the first example of which was at Laganside Bus Station in Belfast in November 1998. The installation, called Filter, consisted of a recording of Philipsz singing, unaccompanied, ?Airbag? by Radiohead, ?Who Loves The Sun? by The Velvet Underground, ?Jesus Doesn?t Want Me For A Sunbeam? by Nirvana and ?As Tears Go By? by The Rolling Stones.
“I chose those songs for their themes of longing and escapism,” she says, “because bus stations are normally places where you?re waiting to be some place else. I was interested in that psychological state.”
You can read the entire article here. Sounds interesting.
CORRECTION- It’s not really our mistake, but a mistake nonetheless…Nirvana did not write ‘Jesus Don’t Want Me For a Sunbeam’, the Vaselines did. Adam and Brad wanted you to know that, and dammit, they’re right.

The PBS (Poetry Book Society) has named its list of 20 Next Generation Poets. As you may remember, Colin was on the judging panel.
You can read more about this here.

Randy writes in to let us know that he was able to attend the IMAX premiere of Bodysong in Harrisburg. He was able to snap a photo of the crowd waiting to get in, which we’ve posted below. Since Randy doubles as a reviewer at DVDTalk, he’s posted a review of the film here.

(Thanks to Randy.)

For those not invested in the wasteland we call cable television, the one thing you’re missing (besides Curb Your Enthusiasm) is being able to watch Radiohead videos. Thankfully, you can pop over here and see the videos for Knives Out, Street Spirit (Fade Out), Pyramid Song, Karma Police and the unofficial Pulk/Pull-Spinning Plates clip. You can also see Rabbit In Your Headlights by U.N.K.L.E. with Thom Yorke- one excellent video if you haven’t had the pleasure.
(Thanks to CUTW).