Radiohead News on WASTE CENTRAL
Lady Newell & Friends (guest curator WASTECENTRAL)
MENTION THIS BLOG PLEASE !!!
ladynewellandfriends@gmail.com
http://twitter.com/lady_newellRoyal British Legion Aims to Make Chart History With its Official Charity Single: '2 Minute Silence'
The Royal British Legion calls on UK public to send its groundbreaking single to the top of the charts for Remembrance Sunday- Entitled '2 Minute Silence' the single, in the form of a silent video, features top UK celebrities who have
donated their time.
The Prime Minister, Thom Yorke and Mark Ronson are amongst a host of celebrities and sports starts featuring in a single to be released by the official charity of remembrance, The Royal British Legion, on 7th November.
Jonny Greenwood will play charity Royal Albert Hall show
English
http://www.nme.com/news/jonny-greenwood/53363
Radiohead's Jonny Greenwood has been confirmed to appear David Arnold's Concert For Care in London this October.
Greenwood, who wrote the score for the Oscar-winning film There Will Be Blood in 2007, will play the October 18 event at London's Royal Albert Hall alongside a host
of composers including Arnold and John Ottman. Special guests including Kaiser
Chiefs frontman Ricky Wilson and comedian Matt Lucas will also appear.
Arnold is an ambassador for Care International, which aims to fight global poverty and deliver emergency aid to survivors of war and natural disasters.
The line up for Concert For Care is: Jonny Greenwood, Ricky Wilson, Jimmy Carr, Imogen Heap, Ed Byrne, Matt Lucas, Paloma Faith, Jil Aigrot, David Arnold, Harry Gregson-Williams, John Powell, John
Ottman, Patrick Doyle, Craig Armstrong, Anne Dudley, George Fenton, Rachel
Portman, Dario Marianelli.
See Concertforcare.com for more information.
http://www.concertforcare.com/tickets/
Español
Jonny se presentará en el concierto de caridad organizado por David Arnold en el Royal Albert Hall de Londres el próximo 18 de octubre.
El line up del concierto es: Jonny Greenwood, Ricky Wilson, Jimmy Carr, Imogen Heap, Ed Byrne, Matt Lucas, Paloma Faith, Jil Aigrot, David Arnold, HarryGregson-Williams, John Powell, John Ottman, Patrick Doyle, Craig Armstrong, AnneDudley, George Fenton, Rachel Portman, Dario Marianelli.
Los tickets ya están a la venta en:
http://www.concertforcare.com/tickets/
Radiohead Help With Music for Ed Norton Movie
The 8th annual Variety Screening Series kicked off Tuesday night with Overture Films' new drama, starring Robert De Niro and Edward Norton. Norton, on hand for a post-screening Q&A at the ArcLight Hollywood, said director John Curran ("The Painted Veil") had been exploring the prison drama for a few years.
"This was John's baby," he said. "When the economy tanked and the financial crisis happened, he said 'We gotta do this now'."
Sitting alongside Variety moderator Peter Debruge, Norton recalled how he and Curran interviewed a number of real-life inmates for the film, which is set in Detriot.
"Fifty percent of the dialogue in this movie came from two guys, in particular," Norton said. "John was like 'If you can do have as well as those two, I'll be thrilled.'"
As for De Niro, whom Norton had previously worked with on "The Score," Norton shook his head and sighed, "Honestly, the last 10 Best Actors couldn't even touch him."
"Everyone has this romanticization of De Niro," he added. "But he's not the intuitive, vocal presence on set at all. He's one of the most right-brained and clinical actors I've ever met. He's like a librarian."
Speaking of scores, Norton also revealed how Radiohead chipped in to create the foundation for the pic's atmospheric music, composed by John O'Brien.
"I'm friends with the guys in Radiohead, And Johnny Greenwood, who did the incredible score for Paul Anderson's 'There Will Be Blood,' met me in London a while back when John (Curran) and I were developing the script," Norton recalls.
"So given the spiritual ties in this film, I started talking to him about this idea: 'What would you use to record this divine-like tuning sound?' And he and Thom (Yorke) had been playing a lot of weird ambient stuff at the time and so, amazingly, they just unloaded tons and tons of files to us of these sound experiments that they had been doing. We just listened to them in awe until John (Curran) eventually got John O'Brien to come in and see what he could make of it."
As the evening wore on, Norton was careful not to forget his character's finely braided corn-rows.
"The moment the hairstylist took them out, I swear to God I looked like Gene Wilder in 'Young Frankenstein.'"
"You could say I'm thankful we didn't get that on film."
"Stone," also starring Milla Jovovich and Frances Conroy, hits theaters Oct. 8.
https://www.youtube.com/watch?v=ZU3aX6nE5yc&feature=player_embedded#!
Español
http://www.warp.com.mx/?q=node/7081
Thom Yorke y Jonny Greenwood de Radiohead colaboraron en el soundtrack de “Stone”, una nueva película estelarizada por Edward Norton, Robert De Niro y Milla Jovovich.
Norton –quién colaboró en el guión del filme- comentó en una entrevista para la revista Variety: “La película es muy espiritual así que cuando John Curran (director de la película) y yo estábamos trabajando en el guión, le pregunté ‘¿Qué harías para sonorizar la película y
poder lograr un sonido espiritual y de divinidad?’ Justamente, Thom Yorke y
compañía estaban tocando muchas melodías ambientales y nos enviaron muchos de
estos materiales sonoros experimentales y quedamos impresionados con ellos.
Eventualmente, le enviamos esos materiales a John O’ Brien para que ver qué
podía hacer con ellos.”
Todavía no hay más información sobre si el soundtrack incluirá temas de Radiohead o si sólo contará con ideas sonoras de ellos como parte del score. “Stone” llegará a las
salas de cine de Estados Unidos el 8 de octubre de 2010.
For thirty years, the Oxford Music Scene has been producing bands of amazing quality and integrity. Some went on to shape genres and change music on a global scale, others never got heard of outside the town. I've lived in Oxford for most of my life and been a part of that scene for a long time - filming gigs, making music videos and realised it was time to get
everyone together to tell the story. It's epic, uplifting, sad, honest and
handmade.
Español / Gracias totales exitmusic.com.ar !!
RADIOHEAD NEW ALBUM COMING SOON !!
Sep, 20/2010 thnks a lot my queen !!
Radiohead going back to the studio to 'take stock' of new recorded material
Radiohead is heading back to the studio in a week's time to "take stock" of new material and assess when — and how — it should be released to the world.
Drummer Philip Selway told The Canadian Press the band will regroup next Monday to determine how close the followup to "In Rainbows" is to being ready.
"We've been working on material on and off for a year now and we've had the summer off so yes, we're basically taking stock on Monday and seeing what we need to do with the material to move it to those final stages," Selway said in a telephone interview from Amsterdam on Monday.
"We're just returning to it with fresh ears and taking stock of where we are and how close we are to finishing stuff, really, and we won't know till Monday."The band is working on the eagerly anticipated followup to its seventh album, "In Rainbows," which sent shock waves through the music world in 2007 when it was first released digitally online, throughthe band's own website, and at an indeterminate "it's up to you" price. The band also streamed a free concert to fans months later on New Year's Eve, and Selway hinted the band might have some more digital or online plans up its sleeves — although he wouldn't say what exactly.
"Then again, you look at the track record of what we've done over the past decade in that area and I suppose, you know, it's probably a safe bet to say there'll be something in there somewhere along the line."
While "In Rainbows" was largely shaped by extensive touring and live experimentation with the songs, Selway said that won't be the case with the new
project.
"I don't know what we'll be doing but the process of making 'In Rainbows' — so much came about through what we were doing live — has been quite the opposite so far. But you never know, we might get back together on Monday and after discussing stuff we might just throw this all out and say maybe we need to go back to the drawing board. Who knows, as I say, it's all up in the air at the
moment.
"But we've been enjoying what we've been doing."
Colin Greenwood Interview !!!!
English / thanks a lot Inez !!
http://www.indexoncensorship.org/2010/09/radiohead-copyright-freespeech-music/
13 Sep 2010
Radiohead’s Colin Greenwood explains why the band released their last album direct to their fans
It’s been nearly three years since we announced our
“pay what you think it’s worth” scheme for the launch of our last record In Rainbows. I remember the excitement of it all, not least because the release date was my wife’s birthday, 10 October. The idea came from a friend of our manager, who proposed an “honesty box”, placing the onus on people to ask themselves how much they valued our music. Last summer, as we finished some more recordings, we started to think and talk about how to release them. So it seemed a good
moment to take stock of the technological and cultural changes that have
happened in the meantime.
In August 2007, we had finished our first record after the end of our deal with EMI. Previously, we would have given it to our record company at least three months up front, and then gone through the protracted round of meetings to decide on videos and singles — experiences we’d had for
the previous six records. This time there was no EMI, and no one to decide
anything but ourselves. We owned it outright, and could do whatever we wanted
with it. This coincided with the growth of the internet as a medium to discover
and share music, something we had used to reach fans while we made In Rainbows.
This desire to use the technology was driven by distrust and frustration with
trying to broadcast our music via traditional media, such as radio and
television. Music on television is scarce, and hard to do well. Radio has such
regulated playlists that disc jockeys are lucky to have one free play per show.
Why go exclusively through such straitened formats when you could broadcast
directly to people who are interested in you, in that moment?
The other attraction for us was the conjuring up of an event, a way of marking our releases and performances as special, unique times. The internet makes it easier for everything to be live, and that’s what we do.
While we were in our studio, making the last few records, we would schedule
last-minute “web casts”, and, at short notice, make small, spontaneous and
impromptu programmes where we would play our favourite records, talk to fans,
play new and old songs live, and even cover versions of songs from bands that
had inspired us. It was stitched together on old Sony cams and video editors
from eBay. It did feel like a Ruritanian broadcast, but it was thrilling to be
sharing a live moment with our fans that wasn’t mediated by anyone except the
internet service provider, and a live show that could be created ten minutes
from home. I’d like to think the equivalent of this in broadcasting history
would be the mom and pop radio stations that set up in America between the
wars, when the excitement of a new medium was explored through the immediate
community. In the same way, we saw the internet as a chance to treat the global
constituency of Radiohead fans as our community. Also, it helped break up the
studio tension, and made us feel less cloistered and isolated while we finished
recording.
Against all this positive experience of using net technology, we’d had a bad experience on the previous record, when someone had taken some of the songs from a computer and put them online, well ahead of the official release. Everyone became very careful about carrying songs around, in
the car, on CDs, music players and computers. It made you realise how easy it is to store and transmit music once it’s digitised, and that the fundamental thing about music is its destiny to be broadcast or shared. Part of the process of making a record involves listening to new songs or ideas in lots of different places: the car, the kitchen, with friends late at night. Having
feelings of mild anxiety about music escaping onto the web wasn’t conducive to
that, and there were a few panics. Fortunately, we managed to keep everything
unreleased until the online download of In Rainbows.
The success of keeping the music off the net until release proved very powerful. A pre-digital album launch would involve some shows perhaps, record shop queues if you were lucky, and plans by the record company to mark the release as an event. In the digital world, with the ease of
music escaping online, that sense of an event is diminished.
With In Rainbows, we were able to be the first people to digitally release our record, directly to people’s personal computers, at 7.30am GMT on 10 October 2007. I was having breakfast, and watched as the file appeared in my email, and the album streamed onto my desktop. I spent the next
day and night monitoring people’s reactions online, both to the music and the
means of delivery. Journalists in America had stayed up overnight to write the
first review as they received the music – again, in the pre-digital age they
would have had advance copies up to three weeks before. On the torrent site
bulletin boards, people were arguing over whether they should be downloading
and paying for the record from our site, rather than the free torrents. Various
online pundits and pamphleteers were pronouncing the end of the record
business, or of Radiohead, or of both.
For all the giddy prognostications, the most important reason for the success of In Rainbows was the quality of the music. I think this was overlooked, but without the great songs that we were proud of, the online release would have counted for nothing. I am optimistic that if you make
good work you can secure the patronage of your fans.
Three years later, we have just finished another group of songs, and have begun to wonder about how to release them in a digital landscape that has changed again. It seems to have become harder to own music in the traditional way, on a physical object like a CD, and instead music
appears the poor cousin of software, streamed or locked into a portable device
like a phone or iPod. I buy hardly any CDs now and get my music from many
different sources: Spotify, iTunes, blog playlists, podcasts, online streaming
– reviewing this makes me realise that my appetite for music now is just as
strong as when I was 13, and how dependent I am upon digital delivery. At the
same time, I find a lot of the technology very frustrating and
counter-intuitive. I spend a lot of time using music production software, but
iTunes feels clunky. I wish it was as simple and elegant as Apple’s hardware. I
understand that we have become our own broadcasters and distributors, but I
miss the editorialisation of music, the curatorial influences of people like
John Peel or a good record label. I liked being on a record label that had us
on it, along with Blur, the Beastie Boys and the Beatles.
I’m unconvinced that the internet has replaced the club or the concert hall as a forum for people to share ideas and passions about music. Social networking models such as Twitter and foursquare are early efforts at this but have some way to go to emulate the ecosystem that labels
such as Island drew upon, the interconnected club and studio worlds of managers,
musicians, artists and record company mavericks, let alone pay for such a
fertile environment. Shoreditch, in east London, has a vibrant scene right now,
with independent labels such as Wichita, Bella Union and distribution companies like The Co-op, alongside the busy Strongroom studio. I spoke to a friend, Dan Grech-Marguerat, about the scene. He is a busy mixer and producer, and told me that he could just sit at home and work on the
computer but would miss the social buzz and benefits of working at the
Strongroom and other studios.
There are signs that the net is moving out of its adolescence, and preparing to leave its bedroom. I have noticed on the fan message sites that a lot of the content and conversations have grown up, moved away from staccato chat and trolling, to discussions about artists, taste and
trends, closer to writing found in music magazines.
There is less interest in the technological side of the net, and more focus on what services the web can deliver, like any other media. People are using touch and gesture-controlled devices such as the iPad to see through those objects to get to the content they want. This transparency
and immediacy is exciting for us as artists, because it brings us closer to our
audience.
We have yet to decide how to release our next record, but I hope these partial impressions will help give some idea of the conversations we’ve been having. Traditional marketplaces and media are feeling stale – supermarkets account for around 70 per cent of CDs sold in the UK, the
charts are dominated by TV talent-show acts – and we are trying to find ways to
put out our music that feel as good as the music itself. The ability to have a
say in its release, through the new technologies, is the most empowering thing
of all.
Español- Gracias totales Radiohead Chile por la traducción !!!
http://www.radioheadchile.com/2010/09/colin-greenwood-explica-lanzamiento-de-ultimo-album/
Thanks: TST8, Radiohead Mexico and The Thom Yorke Red Pants Appreciation Society
Stanley Donwood OVERNORMAL
Interview English & Español
"We have a painting or we have some artwork on the computer and then Thom comes along and basically f***s it up, makes a real mess and I’m like “Okay I’m going to f**k it up even more”… and then he’s like “You f***ed up what I’ve done.”
Basically it goes like that, and we just keep f***ing ...up each others
stuff until we are happy."
http://pitchfork.com/news/40032-take-cover-radiohead-artist-stanley-donwood/
https://www.youtube.com/watch?v=4v33-d78x5E&feature=player_embedded
Interview Part 1
http://www.juxtapoz.com/Evan+Pricco/26531-a-stanley-donwood-interview-part-1
Interview Part 2
http://www.juxtapoz.com/Features/la-versus-sf-versus-london-stanley-donwood-interview-part-2
Interview Part 3
http://www.juxtapoz.com/Evan-Pricco/A-Stanley-Donwood-Interview-Part-3
http://www.slowlydownward.com/nonews.html
Stanley Donwood publica su Taglibro 21, en el cual presenta tres de los varios trabajos nuevos que ha realizado, y que recuerdan mucho al artwork de Hail to the Thief. Como
también había anunciado en su anterior Taglibro,
dichos trabajos serán presentados en su primera exhibición de casi dos meses en
EU, que se titula OVER NORMAL, mostrada en una famosa
galería de San Francisco, y en la que ha incluido un acompañamiento musical,
preparado con John Matthias, para visualizar sus obras, titulado
OVERNORMALIZER. La ceremonia de apertura iniciará a las 21:30 horas, y
la galería ofrecerá un panfleto a modo de periódico, preparado en conjunto con
Donwood y Matthias, que se puede descargar en PDF
Mis disculpas por publicar otro Taglibro tan rápido después del anterior…
En el momento en el que lean esto yo estaré en San Francisco, preparando en la Fifty24SF Gallery una exhibición titulada OVER
NORMAL, la cual durará del 2 de septiembre al 27 de octubre.
Es el primer evento que realizo en Estados Unidos, y consta de siete nuevas pinturas, nuevas serigrafías, nuevas impresiones en giclée y una instalación de sonido, llamada OVERNORMALIZER, que ha llevado a cabo con JohnMatthias.
El elemento que unifica el show es el constante uso de los colores que empecé a usar en 2003, cuando hacía las pinturas que se convertiría en elarte del álbum Hail to the Thief, de Radiohead. Este ha llegado a sermi paleta californiana.
Las pinturas mostradas en este show son enormes paneles de madera de abedul, tres de los cuales muestro muestro arriba. Los he
titulado como: PROBLEM INTENSITY, BECOME UNITEDBUSINESS
PENIS.
El torrente de palabras, que me parecen aplastantes, lo he dibujado de mi colección de spam por correo electrónico, que tiene que ver con
aspectos incesantes como el dinero, el sexo y el aprovecharse de los
demás.
Son todas estas palabras lo que conforman la base del OVERNORMALIZER, una máquina a la que se le alimentó con spam en forma de texto, hasta que loempezó a vomitar como sonido en los oídos del oyente.
Esperamos fervientemente el Sr. Matthias y yo que los resultados induzcan a una levehipnosis o incluso a un estado de alucinación
hipnogógica mientras se escucha, al tiempo que se aprecia y descifra eltrabajo visual en el show.
Para acompañar dicha instalación, hice una serie de cuatro impresiones en giclée, que documentan los patrones neuronales
provocados por el OVERNORMALIZER.
Sep, 15/2010
Septiembre, 3 / 2010
Jonny in Norwegian Wood Premiere
más fotos
http://www.waste-central.com/photo/absolutely-amazing?xg_source=activity
https://www.youtube.com/watch?v=PWPaIfn4aWE
Español
9/1/2010
Philip Selway - NME video exclusivo
http://www.nme.com/video/bcid/600982580001/search/NME
más información sobre FAMILIAL
Agosto, 27 / 2010
Over Normal, art exhibition, by Stanley Donwood in EE.UU. / superior a lo normal Stanley Donwood exposición individual en los EE.UU.
Fifty24SF Galería presenta "superior a lo normal" - una exposición individual por Stanley Donwood en su primera muestra en los Estados Unidos.
! Thnks! dumbaspaint!
http://www.upperplayground.com/features/stanley-donwood-at-fifty24sf-gallery-next-week
25/8/2010
FAMILIAL EN LÍNEA!
Ya Se Puede Escuchar línea familiar completo! / Se puede escuchar en línea familiar!
http://www.npr.org/player/v2/mediaPlayer.html?action=1&t=1&islist=false&id=129001690&m=129002071
http://www.npr.org/templates/story/story.php?storyId=129001690
16/08/2010
Cinta de vídeo y UNICEF ( thnks Mabel!)
Radiohead ha Donado El tema Videotape PARA EL clip de UNICEF
https://www.youtube.com/watch?v=OtnkBCqjZAI
10/08/2010Nigel Godrich News
http://www.scottpilgrimthemovie.com/
Ya Se Puede Escuchar Rumble lo nuevo de Nigel Godrich para la banda de sonido de la película Scott Pilgrim.
26/07/2010
FACEBOOK is Creep !!
http://www.thesocialnetwork-movie.com/
Inglés
http://www.nme.com/movies/news/radiohead-orchestral-track-features-on-trailer-for/179634
http://newsfeed.time.com/2010/07/15/the-social-network-releases-full-trailer-and-its-creepy/
Español
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