“(…) I’d gotten a few nasty/personal reviews, about, like, me as well, not just about how the band’s shy or whatever… um, you know, ‘This man is ugly, this man is whatever’, really personal stuff and it really got to me, because I was trying to, you know… and then we went stateside and then suddenly oh wow, it’s a great big world!” (x)
Still stucked on Thom Yorke’s face. What an amazing face and body
gesture. How can anyone who can draw not be inspired to draw him ?
was dreaming while listening to my favourite Radiohead songs, and
naturally started to imagine the story. The person singing it, living
and feeling the lyrics, in a story that would make sense.
lyrics are quite obscure for me, and their music videos often don’t help
to figure out what they really mean. So I created my own
interpretation, certainly very far away from what Thom Yorke wanted to
say when he write these lyrics, and even more far from who Thom Yorke
So I made a character from the real Thom Yorke, and completed
with what I imagined him to be. Someone who would wite such melancolic
songs, tourmented, insecure, depressed, and sometimes a bit revengeful.
like how he looked like in the earliest music videos, with this weird
yet fascinnating crazy way of dancing he had. He was in such transe when
And the face, jeez. My favourite video is Just, in which
he’s ginger. His skin looks even more white. And the look in his eyes. I
really love how his paralysed eyelid makes him look like totally numb
or nealy dead on one side. His whole being seems awkward and strange,
even when completly static.
I really whished Radiohead would have
make a music video as good as Just for Paranoid Android, which is my
absolute favourite song from this group. There is definitely a story
with different mood and phases going on, many emotions I would have
loved to see a Thom Yorke - inspired character feel.
And that’s the kind of dreams that went on in my head when I drew these. In case anyone wondered.
didn’t quite figured out what was going on in Paranoid Android, but I
think it would be cool to draw a story with this character with subbtle
and appropriate use of the lyrics, at one point or another. Er, maybe
But who could have imposed a deadline? If Nigel wasn’t constantly on my back, I would have never brought out the eraser. It was pissing me off that he was treating me like a little boy but on the other hand, it was the only way. If it was only up to me, I would waited a month or 2 for stuff to clarify - & it wouldn’t work or it would crap. So his discipline was a big choc for me.
Did you need to purge yourself from these songs, from these electronic sounds, before going back to RH? It needed to come out, it was impeding me. I also needed to prove that I could work alone, to compose with little means: a bass line for one song, a guitar loop (not sure if it’s the right word) on an other… It was interesting to distance myself from song writing. Because I’m not really a songwriter, I don’t listen to – besides a few old ones like Scott Walker or Stephen Malkmus – songwriters… I mainly listen to beats, sounds, grooves… That’s why I can be very frustrated listening to RH: from my defending body ( couldn’t translate this correctly), we make songs. I wanted to distance myself from this kind of format for the eraser. But Nigel was obsessed with the songs and, on those little bits of ideas that I had made him listen to in beginning, he regularly stopped me and said: “But you have a song, you really needed to sing over it!”
Even your singing sounds new: your voice seems to have found some pleasure. Its exactly that: the pleasure of just sing. I’m much more comfotable with my voice today, finnaly I have no doubts. That goes for saying, when I sing a song like Atoms for Peace, never has my voice been so exposed, so vulnerable. Nigel was inflexible: “I want a bit more echo. –No. – Ok, then a little reverb. –No. I told you I am not doing that on an album.” A lot of the time, he wanted one or two pieces of voice.I needed to trust in him, even if I sometimes had the impression of being naked. Usually, I always managed to hide the words behind the guitar or behind effects. The worst was on OK Computer: I had the impression that this voice didn’t belong to me anymore, that it had nothing to do with me… All measures taken around this album … I had the impression of being a caricature.
Do you need a bubble to record, an enclosed environment? That’s something that Nigel and I always argue about. He thinks we always need to completely isolate ourselves, not to have any contact with reality. I end up thinking he is right: during months with RH, we went into the studio as if we were going to work like a normal person, with fixed hours, from 11 to 23h - & nothing came out of it at all. That routine washed us out: we were taking care of children night & morning, & we were killing ourselves over these songs. A failure.
So your presence can be inhibiting? Yes certainly. I can be even corrosive. Nigel remembers with horror recording Paranoid Android… During a day or two, I pulled a fit, I was unbearable: “I had no positive energy, I couldn’t bear it anymore…” I dropped the whole thing because if I would have stayed, I would have really lost my marbles, I would have burnt the place down(laughs)… Nigel then reunited everybody, behind my back, and they did three quarters of the song. We were already troubled over ten different versions but there, without me on their backs, they found a solution. I can be a real poison in this machine. When my energy leaves me, I become a burden.
Selway!!!!!!!!!!!!!!!! “His timing and varied drumming help to give the band its sound,” and I think he’s a good person. Remember when his mother died in 2006 and the band canceled their tour, and how he dedicated 2 Radiohead’s album to his children. But Thom comes very close. I mean, who don’t love Thom Yorke anyway?
The first time I heard Radiohead’s “Fake Plastic Trees”, I turned up the radio, shut out all distractions, and listened intently until the DJ came on to tell me who wrote the song. … To me, the lyrics were perfectly clear. Thom Yorke was singing a song about beautiful false things, about relationships built on artificial attractions, and the inevitable failure of those relationships. A song lamenting the absence of true love and beauty. … But here’s the thing: Much like going through life not looking like a villain in a Charles Dickens story, Thom Yorke would never agree to such a thing.
Yorke has described the lyrics as “drunken,” “a breakdown of sorts,” and “a joke that isn’t a joke.” Unlike his usual method of keeping note of what he was singing or crafting deliberate phrases, he was just singing whatever was in his head to a previously-constructed melody. Does that mean that I shouldn’t like the song anymore? Does that mean that my interpretation doesn’t work? No, but it does mean that if I go on and on like a pontificating douchebag, swearing I know what the song “really” means, I’d be wrong.