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18 hours of Ok Computer stuff leaked?


Fuzzyste
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To all the recently minted members who are lurking solely to scope out a posted ink and disappear, the Board admin has been actively deleting those links.    (You'd know that if you actually read the board instead of sitting like hens waiting for the golden egg to drop.)  

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Just now, Glitchd said:

The word "interpretation" does indeed suggest creative input, although not as far, perhaps, as songwriting?

Ambiguous. Any musician performing someone else's piece is "interpreting" it.

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1 minute ago, thatthere said:

To all the recently minted members who are lurking solely to scope out a posted ink and disappear, the Board admin has been actively deleting those links.    (You'd know that if you actually read the board instead of sitting like hens waiting for the golden egg to drop.)  

i've been here since day 1 forever and ever

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Just now, Glitchd said:

Ah, but if that's the default assumption, why go to the trouble of actually stating as such there?
I agree it's ambiguous though

It's pretty standard terminology for musicians, especially in the classical word. Any performance of a Mozart piece or whatever (no matter how conservative) is described as an "interpretation". Whatever you do you have to interpret the music written in front of you and turn it into some sort of performance.

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8 minutes ago, Duff said:

Thanks, but that doesn't say anything about Oliver Coates doing anything but being in the orchestra that played on AMSP.

I wasn't sure what you were asking exactly.  You only bolded his name, so I thought you were asking for a source indicating he was involved.  I'm probably reading between the lines, but I think his work with Jonny has been much more collaborative than simply guy playing in orchestra and the comments suggest that.

Quote

 

Your work with the London Contemporary Orchestra has taken you to some interesting places – most recently you’ve worked with Radiohead on A Moon Shaped Pool. What’s it like working on such a highly anticipated release?

I’ve worked with Jonny [Greenwood] before, so on the morning of the recording I just thought it’d be another session: we’ll put down some chords and it’ll be fine. But it was so much better than I could have imagined. Nigel [Godrich, long-time Radiohead producer] Jonny and Thom all have this awesome relationship, and were so animated during the recording. I remember we were laying down the cello part at the end of ‘Daydreaming’ [Coates mimics the cello sound with a low harrumph] and Thom said, “That’s it – that is the sound of the record.” I think it’s turned out really well, but there’s so much on my hard drive which they’ve had to cut, loads of Jonny’s scored stuff and so many more choral parts.

 

https://www.factmag.com/2016/05/27/oliver-coates-radiohead-cello-upstepping/

The conclusion that it was mostly him and Jonny who created it is probably my own.  It's clearly Jonny's piano playing and style of piano writing, and it seems the strings were mostly the two of them working together.  

Edited by MarkGrace
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Your original wording suggested that Oliver Coates had some say in the arrangement or whatever of the song, which might be true, you never know. But there's nothing out there to suggest it, and certainly nothing to suggest he had more of a role in "creating" it than anyone else in the orchestra, or anyone else in Radiohead.

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20 minutes ago, KidAmnesiac said:

Have the leak playing nonstop while I'm working. Jesus, they really like "I Promise" (I like it too, although it was my least favorite of the "new" tracks on OKNOTOK). It almost feels like desperation at times to make it work...

What we have on these minidiscs is about a dozen live performances, all more or less exactly the same in terms of song structure and lyrics. If you check out the gigography for 1996 it's played at almost every show. 

Perhaps it's another one that suffered from the "Sulk" effect - a band favourite and potential new single at the start of the sessions, but a little out-of-place and boring by the album's completion. 

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56 minutes ago, devilhood said:

You can do it with a python3 script that someone wrote https://pastebin.com/Sh8V3HwA

It needs this specially formatted tracklist.txt to be present in the folder https://pastebin.com/pBMZEyqi

It works, but can be a bit funky on Windows unless you remove all of the special characters (e.g. / ? etc.) in the song titles. Execute the script using "py -3 rename.py" in command prompt, after installing the latest Python windows package. Also make sure ffmpeg is added to your System Variables > Path.

If you want a more direct method, you can write out your own batch script and use ffmpeg like this example:


ffmpeg -i 16.mp3 -ss 3614 -to 3839 -c copy Lift.mp3

This splits Lift from Disc 16 into a separate file based on the time index you provide. I know ffmpeg also supports metadata tagging so you could go the extra mile and add that information too.

 

Thank you.

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2 minutes ago, Duff said:

I don't understand why you have this understanding. He's one man in an orchestra and none of your sources have said anything about him doing anything but play on the song with the rest of the orchestra.

Duff, you're killing me.  It just not that unreasonable a way to interpret what happened.  Several people play in that orchestra, and yet strangely he's the only one called out in several articles and suggested made "crucial contributions?"  You're just being a little obtuse over this.

Quote

He played on Jonny Greenwood’s scores for The Master and Phantom Thread, and made crucial contributions to Radiohead’s A Moon Shaped Pool. (“That’s it—that is the sound of the record,” Coates has recalledThom Yorke saying after hearing him lay down parts for the album.) 

https://pitchfork.com/reviews/albums/oliver-coates-shelleys-on-zenn-la/

 

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