If You'll Remember, Radiohead Took Fans by Surprise with the Release

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′ Beth Kellmurray Subscribe to Diffuser.fm on If you’ll remember, Radiohead took fans by surprise with the release of their seventh album, In Rainbows, in 2007. In September of that year, guitarist Jonny Greenwood announced the LP was completed and ready to be released — in a mere 10 days. On Oct. 10, the band leaked the album online, allowing listeners to download their latest full-length for whatever price they saw fit, whether that was $1, $10, $20 or for free. Since then, fans have unearthed some shocking mysteries surrounding In Rainbows, specifically its relationship with Radiohead’s third full-length, OK Computer — and it makes for what we believe is one of indie rock’s greatest Easter egg hunts of all time. It may be old news to some, but the eagle-eyed fan who uncovered the connection between OK Computer and In Rainbows on Puddlegum asserted that the two were complementary right down to every single track on the pair of discs. But let’s back up first … When In Rainbows arrived in 2007, keen observers noticed that Radiohead placed a great deal of significance on the number 10. In the 10 days leading up to the release of the album, the band sent fans nine messages littered with the letter X throughout, which is now believed to have represented the Roman numeral for 10. The album then arrived on October 10, 2007, which in turn was 10 years after the 1997 release of OK Computer. What’s more, the album title, In Rainbows, consisted of 10 letters and the band made it available for download on 10 servers. The listener who discovered these hidden Easter eggs planted by the band developed the “Binary Theory,” which proposes (via Puddlegum): ‘OK Computer’ and ‘In Rainbows’ were meant to complement each other. During the writing and recording process of ‘OK “ Computer,’ Radiohead used the working title of ‘Zeroes and Ones.’ If ‘OK Computer’ is represented by 01, and ‘In Rainbows’ is represented by 10, then we have 01 and 10. In binary code 01 and 10 complement each other. If you take this theory to its logical end, you find that, when combined by alternating every other track, OK Computer and In Rainbows are complementary — from composition to lyrics, they make for a seamless transition track-to-track. Check out the “01 and 10” playlist below as it’s meant to be structured (OK Computer’s “Karma Police” and “Fitter Happier” appear side- by-side in the middle of the playlist to transition between two sets of 10 songs), and then listen to it in the video above — the effect is both mesmerizing and kind of ingenious. The Radiohead “01 and 10″ Playlist 1. “Airbag” (OK Computer) 2. “15 Step” (In Rainbows) 3. “Paranoid Android” (OK Computer) 4. “Bodysnatchers” (In Rainbows) 5. “Subterranean Homesick Alien” (OK Computer) 6. “Nude” (In Rainbows) 7. “Exit Music (For A Film)” (OK Computer) 8. “Weird Fishes/Arpeggi” (In Rainbows) 9. “Let Down” (OK Computer) 10. “All I Need” (In Rainbows) 11. “Karma Police” (OK Computer) 12. “Fitter Happier” (OK Computer) 13. “Faust Arp” (In Rainbows) 14. “Electioneering” (OK Computer) 15. “Reckoner” (In Rainbows) 16. “Climbing Up The Walls” (OK Computer) 17. “House Of Cards” (In Rainbows) 18. “No Surprises” (OK Computer) 19. “Jigsaw Falling Into Place” (In Rainbows) 20. “Lucky” (OK Computer) 21. “Videotape” (In Rainbows) 22. “The Tourist” (OK Computer) Image 1 of 10 Subscribe to Diffuser.fm on .

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Everybody Hates Rainbows D

Old Dominion University ODU Digital Commons Philosophy Faculty Publications Philosophy & Religious Studies 2009 Everybody Hates Rainbows D. E. Wittkower Old Dominion University, [email protected] Follow this and additional works at: https://digitalcommons.odu.edu/philosophy_fac_pubs Part of the Philosophy Commons Repository Citation Wittkower, D. E., "Everybody Hates Rainbows" (2009). Philosophy Faculty Publications. 21. https://digitalcommons.odu.edu/philosophy_fac_pubs/21 Original Publication Citation Wittkower, D. E. (2009). Everybody Hates Rainbows. In B. W. Forbes & G. A. Reisch (Eds.), Radiohead and Philosophy (pp. 123-134). Chicago: Open Court. This Book Chapter is brought to you for free and open access by the Philosophy & Religious Studies at ODU Digital Commons. It has been accepted for inclusion in Philosophy Faculty Publications by an authorized administrator of ODU Digital Commons. For more information, please contact [email protected]. RHP_ch10_wittkower 12/16/08 11:30 AM Page 123 10. Everybody Hates Rainbows D.E. WITTKOWER “The Culture Industry.” Does that phrase make you as uncom- fortable as it makes me? Culture shouldn’t be an industry; it should be something natural and organic. Culture is our commu- nal history and legacy; the context in which we learn and grow, and to which we may contribute. In the past, our culture might have consisted of the stories we learned as children, the songs we all sang together, perhaps traditional clothing or dances. In some sense, it’s hard to imagine today. Our culture, to whatever extent we have a culture, might still consist of stories (Disney), songs (the Jeopardy! theme), clothing (Prada), and dances (The Electric Slide).
The Most Depressive Songs of Radiohead

The most depressive songs of Radiohead 150 000 1 500 000 listeners at listeners at Last.fm Last.fm 15 Step Jigsaw Falling Into Place Feral Fitter Happier There, There Bodysnatchers Cheerful Backdrifts Separator Go To Sleep My Iron Lung Airbag Packt Like Sardines In a Crushed Tin Box Burn the Witch Sulk House Of Cards Lotus Flower Little By Little Optimistic Myxomatosis A Punch Up At a Wedding Anyone Can Play Guitar Idioteque Sit Down. Stand Up I Might Be Wrong In Limbo Where I End and You Begin Bones Thinking About You Morning Mr Magpie Vegetable Morning Bell Lurgee (Nice Dream) The National Anthem Just 2 + 2 = 5 High And Dry Identikit Subterranean A Wolf At the Door Present Tense Homesick Alien Electioneering Bloom The Bends Karma Police You Blow Out Stop Whispering Black Star Prove Yourself Planet Telex I Can't How Do You? Decks Dark Ripcord Scatterbrain Climbing Up the Walls Morning Bell/Amnesiac Faust Arp Reckoner How To Disappear Paranoid Android Like Spinning Plates Lucky Completely Weird Fishes/ Arpeggi Knives Out Ful Stop Exit Music (For a Film) I Will Kid A Nude Give Up The Ghost Pulk/Pull Revolving Desert Island Disk Street Spirit (Fade Out) Let Down Doors Fake Plastic Trees No Surprises You And Whose Army? The Gloaming Daydreaming Depressing Creep Dollars & Cents All I Need Tinker Tailor Soldier Bullet Proof ... I Wish I Sailor Rich Man Poor Hunting Bears Was Treeﬁngers Man Beggar Man Thief Pyramid Song Codex Everything In Its Right Glass Eyes Life In a Glasshouse Sail To The Moon Videotape The Tourist Place The Numbers Motion Picture We Suck Young Blood True Love Waits Soundtrack Hail To the The King Of A Moon Pablo Honey The Bends OK Computer Kid A Amnesiac In Rainbows Thief Limbs Shaped Pool Data source: https://data.world/rcharlie/gloom-index-of-radiohead-songs.
Rock Harmony Reconsidered: Tonal, Modal and Contrapuntal Voice&

DOI: 10.1111/musa.12085 BRAD OSBORN ROCK HARMONY RECONSIDERED:TONAL,MODAL AND CONTRAPUNTAL VOICE-LEADING SYSTEMS IN RADIOHEAD A great deal of the harmony and voice leading in the British rock group Radiohead’s recorded output between 1997 and 2011 can be heard as elaborating either traditional tonal structures or establishing pitch centricity through purely contrapuntal means.1 A theory that highlights these tonal and contrapuntal elements departs from a number of developed approaches in rock scholarship: ﬁrst, theories that focus on fretboard-ergonomic melodic gestures such as axe- fall and box patterns;2 second, a proclivity towards analysing chord roots rather than melody and voice leading;3 and third, a methodology that at least tacitly conﬂates the ideas of hypermetric emphasis and pitch centre. Despite being initially yoked to the musical conventions of punk and grunge (and their attendant guitar-centric compositional practice), Radiohead’s 1997– 2011 corpus features few of the characteristic fretboard gestures associated with rock harmony (partly because so much of this music is composed at the keyboard) and thus demands reconsideration on its own terms. This mature period represents the fullest expression of Radiohead’s unique harmonic, formal, timbral and rhythmic idiolect,4 as well as its evolved instrumentation, centring on keyboard and electronics. The point here is not to isolate Radiohead’s harmonic practice as something fundamentally different from all rock which came before it. Rather, by depending less on rock-paradigmatic gestures such as pentatonic box patterns on the fretboard, their music invites us to consider how such practices align with existing theories of rock harmony while diverging from others.
Radiohead: the Guitar Weilding, Dancing, Singing Commodity

Georgia State University ScholarWorks @ Georgia State University Communication Theses Department of Communication 2-23-2009 Radiohead: The Guitar Weilding, Dancing, Singing Commodity Selena Michelle Lawson Follow this and additional works at: https://scholarworks.gsu.edu/communication_theses Part of the Communication Commons Recommended Citation Lawson, Selena Michelle, "Radiohead: The Guitar Weilding, Dancing, Singing Commodity." Thesis, Georgia State University, 2009. https://scholarworks.gsu.edu/communication_theses/47 This Thesis is brought to you for free and open access by the Department of Communication at ScholarWorks @ Georgia State University. It has been accepted for inclusion in Communication Theses by an authorized administrator of ScholarWorks @ Georgia State University. For more information, please contact [email protected]. RADIOHEAD: THE GUITAR WEILDING, DANCING, SINGING COMMODITY by SELENA LAWSON Under the Direction of Jeffery Bennett ABSTRACT In 2007, Radiohead released a downloadable album, In Rainbows, allowing consumers to pay what they thought the album was worth. The band responded to a moment of change in the music industry. Since then, other bands, like Nine Inch Nails and Coldplay, have made similar moves. Radiohead's capability to release an album and let the fans decide its worth relied on the image they built, which foregrounded their commodification. The historic move redefined the boundaries between art and commodity, a well know tension in popular music studies. The thesis focuses on popular music as communication in the changing industry. Using Radiohead’s album as a case study, it looks at the changing boundaries in the tension between art and commodity. The thesis examines Radiohead's performance, its mediation by the press, and what the album’s distribution method meant to the fans.
The Pleasure of the Intertext: Towards a Cognitive Poetics of Adaptation

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O Download De Música Na Internet Nos Discursos Do Portal G1 (2006 - 2013)

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Thefarmhousestore.Com in Painting and Printmaking from 07090; [email protected]; Hopefully, This One Will Be Back in a Indiana University, Bloomington

Page 16 Thursday, August 21, 2008 The Westfield Leader and The Scotch Plains – Fanwood TIMES A WATCHUNG COMMUNICATIONS, INC. PUBLICATION Martin Sweeney for The Westfield Leader and The Times Admit One Invasion of the Nerds Brings Party Atmosphere to Park By ERIC NIERSTEDT formance of covers from three de- ers, The Nerds had no problems go- Specially Written for The Westfield Leader and The Times cades of music, playing each one to ing from the grandeur of Queen’s MOUNTAINSIDE — While their perfection. “Bohemian Rhapsody” to the dance- getup might need an update, these The Nerds themselves, each dressed funk of Justin Timberlake’s Nerds do not conjure up thoughts of in checkered shirts and short pants, “Sexyback” and then to the hard rock pocket protectors and “Star Trek” re- had just as much fun as the crowd, of Guns N’ Roses’ “Sweet Child O’ runs. which had turned into a veritable mosh Mine.” This did make the show even more interesting, seeing such classic rock, pop and metal performed by a group of men in horn-rimmed glasses. There were also some humorous transitions such as “Sweet Child” to Neal Diamond’s “Sweet Caroline” (in which the Nerds selected a woman from the crowd to lead the growing mosh pit in song and dance). The band also went from the title theme from “Footloose” to Blue Oys- ter Cult’s “Don’t Fear the Reaper.” The event became a family affair as Spaz’s sons Jesse, who played the ever-important cowbell on “Reaper,” and Evan, who took over on key- boards for Bon Jovi’s “Livin’ on a Prayer” and Metallica’s “Enter Sand- The Westfield Leader and The Times Archives August 24, 2006 REVENGE OF THE NERDS...The Nerds played Echo Lake Park last Wednes- man,” graced the stage.
Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music

Coding OK Computer: Categorization and Characterization of Disruptive Harmonic and Rhythmic Events in Rock Music by Nathaniel Emerson Adam A dissertation submitted in partial fulfillment of the requirements for the degree of Doctor of Philosophy (Music Theory) in the University of Michigan 2011 Doctoral Committee: Professor Walter T. Everett, Chair Associate Professor Ramon Satyendra Assistant Professor Karen J. Fournier Assistant Professor Sheila C. Murphy © Nathaniel Emerson Adam 2011 To Laura Hope ii Acknowledgements First and foremost, I want to acknowledge and thank my advisor and friend, Walt Everett. His work inspired me to pursue research in rock analysis, and he personally guided that pursuit, generously providing constant support and assistance. This work is a tribute to him. Many thanks also to the members of my committee, for the experiences in their classrooms and for their encouragement and suggestions in the development of this project. I must acknowledge Thom, Johnny, Ed, Colin, Phil, and Nigel for creating such beautiful and provocative music in the first place. I can’t wait to see what they do next. My love and thanks go out to Zach and to Brent for providing years of stimulating conversation and musical collaboration, and constantly challenging me to think about music better and more deeply. When I started graduate school, Blair, Phil, Danny, and David went out of their way to make me feel welcome and embrace me as a colleague. I’m extremely grateful for their example, their mentoring, and their friendship. Thanks to them and to all of my other colleagues at the University of Michigan, especially Bryan, Michael, Alison, and Abby; spending time with them made it easier to stay sane.
Kid Algebra: Radiohead's Euclidean and Maximally Even Rhythms

KID ALGEBRA: RADIOHEAD’S EUCLIDEAN AND MAXIMALLY EVEN RHYTHMS BRAD OSBORN HE BRITISH ROCK GROUP Radiohead has carved out a unique place in Tthe post-millennial rock milieu by tempering their highly experimental idiolect with structures more commonly heard in Top Forty rock styles.1 In what I describe as a Goldilocks principle, much of their music after OK Computer (1997) inhabits a space between banal convention and sheer experimentation—a dichotomy which I have elsewhere dubbed the ‘Spears–Stockhausen Continuum.’2 In the timbral domain, the band often introduces sounds rather foreign to rock music such as the ondes Martenot and highly processed lead vocals within textures otherwise dominated by guitar, bass, and drums (e.g., ‘The National Anthem,’ 2000), and song forms that begin with paradigmatic verse–chorus structures often end with new material instead of a recapitulated chorus (e.g., ‘All I Need,’ 2007). In this 82 Perspectives of New Music article I will demonstrate a particular rhythmic manifestation of this Goldilocks principle known as Euclidean rhythms. Euclidean rhythms inhabit a space between two rhythmic extremes, namely binary metrical structures with regular beat divisions and irregular, unpredictable groupings at multiple levels of structure. After establishing a mathematical model for understanding these rhythms, I will identify and analyze several examples from Radiohead’s post-millennial catalog. Throughout the article, additional con- sideration will be devoted to further ramiﬁcations for the formalization of rhythm in this way, as well as how hearing rhythm in this way may be linked to interpreting the lyrical content of Radiohead’s music. After doing so, I will suggest a prescriptive model for hearing these rhythms, and will then conclude with some remarks on how Radiohead’s rhythmic practices may relate to larger concerns such as style and genre.
User-Influenced/Machine-Controlled Playback: the Variplay Music App

arts Article User-Influenced/Machine-Controlled Playback: The variPlay Music App Format for Interactive Recorded Music Justin Paterson 1,* , Rob Toulson 2 and Russ Hepworth-Sawyer 3 1 London College of Music, University of West London, St Mary’s Rd, Ealing, London W5 5RF, UK 2 School of Media Art and Design, University of Westminster, Watford Rd, Northwick Park, Middlesex HA1 3TP, UK 3 School of Performance & Media Production, York St John University, Lord Mayors Walk, York YO31 7EX, UK * Correspondence: [email protected] Received: 19 July 2019; Accepted: 29 August 2019; Published: 3 September 2019 Abstract: This paper concerns itself with an autoethnography of the five-year ‘variPlay’ project. This project drew from three consecutive rounds of research funding to develop an app format that could host both user interactivity to change the sound of recorded music in real-time, and a machine-driven mode that could autonomously remix, playing back a different version of a song upon every listen, or changing part way on user demand. The final funded phase involved commercialization, with the release of three apps using artists from the roster of project partner, Warner Music Group. The concept and operation of the app is discussed, alongside reflection on salient matters such as product development, music production, mastering, and issues encountered through the commercialization itself. The final apps received several thousand downloads around the world, in territories such as France, USA, and Mexico. Opportunities for future development are also presented. Keywords: interactive music; dynamic music; app; remix; automatic remix; commercialization; HCI; music production 1.
A Cultural Semantics of String Arrangement for Recorded Popular Music: a Model for Analysis and Practice

A cultural semantics of string arrangement for recorded Popular music: A model for analysis and practice Briony Margaret Luttrell BMus, BMus(Hons) Submitted in fulfilment of the requirement for the degree of Doctor of Philosophy Creative Industries, Queensland University of Technology (2017) Keywords String arranging, string arrangement, string style, recorded Popular music, cultural semantics, Lemke, intertextual, metafunctions, analysis, praxis, mixed method research, corpus analysis, Inter-Dimensional Aural Analysis, multimodal semiotics, social semiotics, aural analysis methods. 2 Abstract This thesis contributes new knowledge about string arranging for recorded Popular music. Specifically it contributes a new model for understanding and writing string arrangements based on an aural analysis of 500 albums released between 1952 and 2011. I show that string arrangements for recorded Popular music can be categorised under one of seven distinct styles. Each style is given coherence and made meaningful by its relationship with social and cultural institutions. The thesis collects and structures the detail of each style at the level of metafunction (Lemke, 2009, pp. 283-297; 1995a) which for the purposes of this project I define as the combination of intertextual patterns in musical and sonic elements, intertextual patterns in semantic functions, and relevant intertexts and intertextual canons. In order to frame and treat the string arrangements as styles I propose a new methodology, Inter-Dimensional Aural Analysis (IDAA), designed to facilitate analysis for praxis. To demonstrate the usefulness of the string styles I employ a practical component using them to inform the creation of nine new string arrangements. The objective of this thesis is to establish an approach to string arranging for recorded Popular music that is derived from and situated in the cultural and historical canon of examples, and is thus informed by and tailored to the conditions of recorded Popular music.
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KSKS45 Radiohead in the classroom David Ashworth by David Ashworth is a freelance education consultant, specialising in music technology. He is project leader for INTRODUCTION www.teachingmusic. org.uk and he has Delicacy – calm, gentle sonorities, lush textures. Highly contrasting passages with loud, violent, harsh sounds… been involved at a underpinned with a feeling of restlessness and unease generated by clashing and ambiguity in harmonic and national level in most of the major music rhythmic elements… initiatives in recent years. This is the music of Radiohead. And it is this highly distinctive collection of musical features that make the study of this music a treasure trove for music teachers. In this resource, we take a closer look at some of the musical devices used by Radiohead and consider ways in which we can use them in teaching and learning in the classroom. Many of the activities here look at an innovative use of rhythm as a key element in effective composition – an element that is often ignored when students focus far more on melodic and harmonic elements. We consider ways in which Radiohead extend the use of harmony beyond the usual confines of rock music, drawing on a range of jazz and classical influences. The importance of technology and electronica are also covered with some realistic, practical music making activities. We give consideration to the diverse musical influences that contribute to their highly original and distinctive output. By listening closely to some of the key works, followed up by relevant practical activity, students should find they are now able to broaden their perspectives compositionally in creating more interesting and more varied music.