Penderecki–the musical pride of Poland–and his tremendous oeuvre of beautifully devastating concertos and requiems are rarely paralleled but often overlooked by young music fans, yet anyone familiar with the films The Exorcist, Inland Empire, and Children of Men have already heard Penderecki’s unsettling strings at work; perhaps his pieces felt most at home when Stanley Kubrick used several whole compositions of his in The Shining and 2001: A Space Odyssey.

Greenwood, the gangly guitarist in a small band from Oxfordshire, has joined the ranks of other rock stars like Trent Reznor who have become accomplished, innovative film composers. While his sullen, jazzy pieces in the abstract documentary Bodysong would’ve fit nicely on Radiohead’s Hail to the Thief, Greenwood’s unique prowess as an English composer has taken shape at an incredible pace, allowing him opportunities to mold critically acclaimed soundtracks for recent films We Need to Talk About Kevin, Norwegian Wood, and Paul Thomas Anderson’s There Will Be Blood.

These two masterminds of tone clusters and harmonic discordance have been dancing around each other’s work for years. Aside from both their stark pieces being weaponized by similar directors, Greenwood’s own rabid fascination with Penderecki’s work is what allows this treasure of an album to exist in the first place; his self-admitted fanboy-ism has resulted in crucial meet-ups and inspired compositions, as well as a momentous joint concert in Wroclaw last year (where much of the material re-recorded for this album was performed).

Greenwood’s modern, literal responses to Penderecki’s work from decades ago fit exquisitely next to the old master’s pieces. Penderecki’s sonic wrecking ball “Threnody for the Victims of Hiroshima” pushes through several bouts of calms and tumults, with violas and cellos raging, becoming a sinister push-pull of notes before exploding into a supernova of musical warfare and fizzling out. Greenwood’s “Popcorn Superhet Receiver”, performed here by the AUSKO Chamber Orchestra with more nuanced gusto than the famed 2005 BBC performance of the piece, is his optimistic answer to “Threnody”. Greenwood builds with the pieces left shattered by his idol, and, just as the aforementioned piece may now symbolize the harrowing results of nuclear conflict, “Popcorn”, now immortalized by images of Daniel Day-Lewis sneering, evokes both primordial beginnings and splendid growth, and Greenwood here fully blooms, owning the fact that he’s the man who sought to sabotage “Creep” with fits of dead guitar chugs before the song’s refrain.

“Popcorn” is broken up into parts, traveling through an earthy dance of hoedown grooves and staccato plucking, recalling the same primitive rhythms and swirling tension that Stravinsky premiered in 1913 for “The Rite of Spring”. The final part features a weathered return to earlier themes, culminating in a majestic 7^th-note swell that acts as a hopeful response to the carnage previously left by Greenwood’s hero.

“Polymorphia” signals the return of Penderecki, as he piles up layers of ominous strings for three minutes straight, transforming quaint-looking, centuries-old instruments into clamoring dogs and humans alike. Adding to the recursive, technology-revering nature of this album, the piece, composed in the 60s, is actually based on psychiatric patients’ brainwave responses to his own “Threnody”. It descends into a lethargically menacing undercurrent of clawing notes and low vibrations and climaxes in frightening tides of vicious tones followed by a C-major blast so refreshing that it’s the most insidious and outrageous moment on the record. (Strangely, “Polymorphia” mirrors The Beatles’ noise-bubble finale of Sgt. Pepper’s, though the Liverpool quartet wrote “A Day in the Life” several years after the piece.)

Greenwood takes that final C note and lets his imagination run wild with it in the responses that follow, providing not a set of plagiarized send-offs but completely new ideas going in different directions. Highlighting Greenwood’s strength in drawing musical sketches, brief responses like “Es Is Genug”, “Three Oak Leaves”, and “Overhang” flirt with traditional, stoic arrangements, while “Scan”, “Pacay Tree”, and “Ranj” employ shaky percussion, fragile dissonance, and Eastern harmony, resembling Koji Endo’s scores for Japanese horror films Gozu and Audition.

While Greenwood seems poised to continue successfully writing his own scores alongside polarizing Radiohead albums, his collaboration with his living inspiration stands as a testament to his own compositional dexterity, Penderecki’s legacy, and the pairing of old and new, chaos and creation.

Essential Tracks: “Popcorn Superhet Receiver Part 1”, “Polymorphia”, and “Pacay Tree”

Jump start your week with Tanlines’ debut LP, Mixed Emotions, which is streaming in full on NPR.org. True Panther will release the 11-track effort on March 20th.

Also available for an early spin is the new collaborative album from Radiohead guitarist Jonny Greenwood and avant-garde composer Krzysztof Penderecki. The self-titled effort contains original orchestral compositions from both men, and will receive release on March 13th via Nonesuch Records. Stream it now at NPR.org.

As previously reported, Radiohead guitarist Jonny Greenwood has teamed with avant-garde composer Krzysztof Penderecki for a collaborative album. The self-titled LP arrives March 13th via Nonesuch Records, and you can preview a portion of the composition ”48 Responses to Polymorphia” at NPR.org.

Written by Greenwood, “48 Responses to Polymorphia” was inspired by Penderecki’s 1960s composition “Polymorphia (for 48 strings)”, which is also on the album. Check out the complete tracklist below.

Jonny Greenwood/Krzysztof Penderecki Tracklist:
01. Threnody for the Victims of Hiroshima
02. Popcorn Superhet Receiver: Part 1
03. Popcorn Superhet Receiver: Part 2 A
04. Popcorn Superhet Receiver: Part 2 B
05. Popcorn Superhet Receiver: Part 3
06. Polymorphia
07. 48 Responses to Polymorphia: Es ist Genug
08. 48 Responses to Polymorphia: Ranj
09. 48 Responses to Polymorphia: Overtones
10. 48 Responses to Polymorphia: Scan
11. 48 Responses to Polymorphia: Baton Sparks
12. 48 Responses to Polymorphia: Three Oak Leaves
13. 48 Responses to Polymorphia: Overhang
14. 48 Responses to Polymorphia: Bridge
15. 48 Responses to Polymorphia: Pacay Tree

As previously reported, Radiohead guitarist Jonny Greenwood has teamed up with avant-garde composer Krzysztof Penderecki for a collaborative album. As Pitchfork points out, the self-titled LP is now set for release on March 13th via Nonesuch Records.

According to the label, the album consists of  two compostions by Penderecki dating from the early 1960s: “Threnody for the Victims of Hiroshima” and “Polymorphia (for 48 strings)”, the latter of which inspired one of Greenwood’s two contributions, “48 Responses to Polymorphia”. The second piece by Greenwood, “Popcorn Superhet Receiver”, was inspired by Penderecki’s “Threnody”. (Greenwood incorporated material from “Popcorn Superhet Receiver” in his award-winning score for the 2008 film There Will Be Blood.)

In support of the release, Penderecki and composer Marek Mos will lead a performance of the material by the AUKSO Chamber Orchestra at London’s Barbican Hall on March 22nd. The AUSKO Chamber Orchestra also performed on the album.

Pre-orders are now ongoing at Nonesuch’s webstore. Below, you can find the tracklist, along with footage of Greenwood’s “48 Responses to Polymorphia”, as performed as last year’s European Culture Congress in Poland.

Jonny Greenwood/Krzysztof Penderecki Tracklist:
01. Threnody for the Victims of Hiroshima
02. Popcorn Superhet Receiver: Part 1
03. Popcorn Superhet Receiver: Part 2 A
04. Popcorn Superhet Receiver: Part 2 B
05. Popcorn Superhet Receiver: Part 3
06. Polymorphia
07. 48 Responses to Polymorphia: Es ist Genug
08. 48 Responses to Polymorphia: Ranj
09. 48 Responses to Polymorphia: Overtones
10. 48 Responses to Polymorphia: Scan
11. 48 Responses to Polymorphia: Baton Sparks
12. 48 Responses to Polymorphia: Three Oak Leaves
13. 48 Responses to Polymorphia: Overhang
14. 48 Responses to Polymorphia: Bridge
15. 48 Responses to Polymorphia: Pacay Tree

According to IMDB, The Master is a “1950s-set drama centered on the relationship between a charismatic intellectual known as ‘The Master’ whose faith-based organization begins to catch on in America, and a young drifter who becomes his right-hand man.” Philip Seymour Hoffman stars as the title character, with Joaquin Phoenix and Amy Adams co-starring. A release date is set for sometime in 2013.

Of course, Greenwood is no stranger to film scores, having previously contributed his talents to There Will Be Blood, Norwegian Wood, and  We Need To Talk About Kevin. The guitarist also recently teamed with of avant-garde composer Krzysztof Penderecki for an album of original compositions.

Look who’s blogging again! Hope you enjoyed our Halloween Mixtape an appropriate amount. It appears that someone left the faucet on ’cause hot tracks are all over the place this week. I don’t say this at every writing engagement I get here, but this week seriously has some clout to it. The novel Halloween holiday has passed, and we’re standing right in fall’s path, so keep your balance and maintain composure. It’s only everything around you that is changing and getting colder by the minute. No. Big. Deal.

-Jeremy D Larson
Content Director

Amy Winehouse feat. Nas – “Smoke”

Further proof that, even though we lost Amy Winehouse at an unfortunate nadir in her life, her posthumous releases remind us of the artist she was. This track is mostly Nasty Nas, though, burning up another track. Even over this polite proto-soul beat, Nas throws the whole thing into overdrive. -JL

Amy Winehouse feat. Nas – “Like Smoke”

ARMS – “Heat & Hot Water”

ARMS are about to drop their debut album, Summer Skills, a power-pop concept album that takes musical detours all over the map. It’s playful and ambitious, and “Heat & Hot Water” is a hitching post in the middle of the album. Todd Goldstein is particular about his melodies and draws out some beautiful ones here. -JL

ARMS – “Heat & Hot Water”

The Big Sleep – “Ace”

Just when I was positive The Big Sleep was going to be one of those “Oh yeah! Whatever happened to those guys?” bands, The Big Sleep emerge from hiding with some post-punk that’s as much Yeah Yeah Yeahs as it is Interpol. As with every good post-punk song, there’s a driving bassline, some scratchy guitar, and a whole lot of swagger. Back from the dead with a vengeance. -WR

The Big Sleep – “Ace”

Chairlift – “Sidewalk Safari” (Sampha Remix)

Sampha cemented his grip on the first handhold to indie stardom by handling most of the vocals on SBTRKT’s dashing debut album earlier this year. This week he shows a different side of himself, that of a capable producer. Taking another indie up-and-comer, Chairlift, and giving them the post-dub treatment, Sampha just went from good to great. As did the track. -WR

Cloud Nothings – “No Future/No Past”

The scuttlebutt was that Cloud Nothings’ new album was going to be way different. Sure is. Their forthcoming album is produced by Steve Albini, and wouldn’t you know it, this track has his grimy, sparse, abrasive hands all over it. Out with those old melodies, in with sandpaper screaming, and yes, I can’t wait for the rest of it. -JL

Cloud Nothings – “No Future/No Past”

Daughter – “Medicine”

Seventy-five percent of this EP is out, and 100% of those songs have ended up on this list. I can’t get enough of Daughter. If you don’t know by now… -JL

Drake feat. Lil Wayne – “The Motto”

This is a bonus track. No, let me repeat what I just said. This is a bonus track. As in not part of the actual tracklist. As in not as strong as the real tracklist. If this was an extra, we’re in for something truly astounding. It’s a quick, three-minute blazer that’s as whimsical as a track on one of Weezy’s Dedication mixtapes, yet manages to maintain a completely professional pace. Best played in a car with a thumping system. -WR

Nicholas Jaar – “Don’t Break My Love”

Jaar’s music sounds very biological, very human. He has this way of digitizing human sounds and making his electronic compositions seem abstractly personal; it’s one of the most affecting sounds out there. It’s meticulous and seamless (much like the human body (unless you got a lot of stitches)), and since Space Is Only Noise comes highly recommended by me, this A-side from a forthcoming single will be lauded on the same plane of hype. And to boot, this track takes it beyond bodily ambience and gets groovy near the end with a great hook, capping off one of the better electronic tracks of the year. -JL

Nicolas Jaar – “Don’t Break My Love”

DOOM, Thom Yorke, Jonny Greenwood – “Retarded Fren”

Though this may loop these three musicians into the needlessly offensive musical names group, the track overshadows that unfortunate hurdle. Doom’s diction is meaty, and Yorke and Greenwood compress an industrial beat with an eerie elevator melody that, like most things Radiohead, works. -JL

Warm Ghost – “G.T.W.S.” (School of Seven Bells Remix)

School of Seven Bells have been on a remix kick lately. Their Surfer Blood remix was tangibly different from most “remixes.” It was like if SVIIB and Surfer Blood had sat down and rewritten the track together with parts written in for Alejandra Deheza. Such is the case for their remix of Warm Ghost’s indie hit “G.T.W.S.”. Rather than break down the track bit by bit, School of Seven Bells just sort of folded themselves into it for great results. -WR

Warm Ghost – “GTWS” (School Of Seven Bells Remix)

To celebrate the 10th anniversary of Lex Records, underground hip hop legend DOOM has teamed up with Radiohead’s Thom Yorke and Jonny Greenwood for a track called — wait for it — “Retarded Fren”. Right now, you can stream it at Pitchfork. Update: As At Ease points out, “Retarded Fren” samples “Proven Lands”, one of the tracks off Jonny Greenwood’s score for There Will Be Blood.

According to Pitchfork, “Retarded Fren”, along with contributions from Gruff Rhys and Boom Bip’s Neon Neon Project, Boom Bip solo, and Doseone and Fog’s Crook&Flail project, among others, will appear on a compilation called Complex. It will be made available digitially on a week-by-week, track-by-track basis beginning this week, as well as on a picture disc vinyl in January.

Of course, this is not the first time DOOM and Yorke have appeared together in the headlines. Back in 2009, the Radiohead frontman remixed Doom’s track “Gazillion Ear”. You can stream that track below.

DOOM – “Gazillion Ear” (Thom Yorke Remix):

Photo by Nate Slevin

Wednesday, September 28th, 2011, happened last week, and not only was it the single best night of baseball entertainment possibly ever, but also Radiohead played their first non-charity U.S. gig in over three years to a smallish crowd at The Roseland in NYC. At this point, Radiohead’s NYC media thing is confusing to me. Colbert Report, Saturday Night Live, two relatively intimate public performances, DJ sets, and an appearance with Jimmy Fallon all in a city that lauds some of the top champions of consumerism and greed — two tenets the Radiohead boys would love to live without (thought they apparently could live without performing at the “Occupy Wall Street” rally, much to the chagrin of every amateur iPhone camera-taker for miles). And not only all that, but King of Limbs came out like 7 1/2 months ago. Bands: one day, you too will have the luxury of not only appearing on late night TV, but being able to choose your own press cycle .

You’ll have to be able to perform something as arresting as “Give Up The Ghost” though, a veritable beacon from King of Limbs. Only Thom Yorke and Jonny Greenwood are there for this one, as Yorke loops his vocals into the track over and over until the crescendo breaks and the two slowly unravel the collage. Check out the ballad below.

Photo by Nate Slevin

Last night at Manhattan’s Roseland Ballroom, Radiohead performed their first of two surprise, last minute gigs for an intimate crowd of just over 3,000 fans blessed with incredible luck. Aside from the novelty and inherent specialness involved with seeing a band that is one of the world’s biggest and probably its best, the first night at Roseland Ballroom unveiled a wide range of new material as road-ready

Recently, Radiohead gave a not-so-secret performance at Glastonbury with second drummer Clive Deamer in tow. Focusing largely on material from The King of Limbs, the Glastonbury set came across as an experiment in developing the live identities of the new material. Three month and a few television performances later, the songs feel fully realized.

The spirit of Atoms for Peace still lingered, with “Little by Little” and “Staircase” enjoyng irresistibly funky grooves. Currently unreleased, “Staircase” has come a long way since its debut at Roseland last year. The formerly solo haunter made the crowd shake their exhausted bodies. Show-stopper “The Daily Mail” was the kind of forceful piano-driven rocker/ballad hybrid that Coldplay often attempts but rarely accomplishs.

Photo by Nate Slevin

Standing out among the “classic fare” was an ultra-rare performance of “Subterranean Homesick Alien”, but more recent selections from In Rainbows proved just as popular. “Weird Fishes/Arpeggi” and “All I Need” have become surprising singalongs, with “15 Step” and “Bodysnatchers” offering energetic thrills.

After a brief three song encore, the crowd lights came on and music chimed over the PA. Nobody at Roseland was having a short-for-Radiohead 18 song set (plus one R.E.M. teaser), so the band resurfaced even as the crew began dismantling and distributing setlist souvenirs. Giving a rare unplanned encore, Radiohead sent everyone home overwhelmed with emotion via “Street Spirit (Fade Out) and “Nude”.

If last night at Roseland was any indication, then Radiohead is at last ready to properly tour The King of Limbs. Additionally, it is possible the forward-thinking band is tired of their older songs, with cuts from their first five albums comprising just one fourth of the entire set. Per long-standing tradition, the songs of Radiohead continue to shine brightest on the stage.

Radiohead Setlist:
Bloom
Little By Little
Staircase
Weird Fishes/Arpeggi
Feral
Subterranean Homesick Alien
All I Need
Everything In Its Right Place (with “The One I Love” intro)
Lotus Flower
15 Step
Myxomatosis
Codex
The Daily Mail
Bodysnatchers
Reckoner
Encore:
Give Up The Ghost
The National Anthem
Morning Mr Magpie
Encore 2:
Street Spirit (Fade Out)
Nude
———-

Gallery by Nate Slevin

[nggallery id=271]

Last weekend, Radiohead guitarist Jonny Greenwood helped celebrate the legacy of avant-garde composer Krzysztof Penderecki by reworking classic Penderecki compositions on stage at Poland’s Sacrum Profanum music festival. Now, as The King of Limbs 2 points out, it appears Greenwood and Penderecki are uniting for an album of original compositions.

According to the website for Sacrum Profanum, Greenwood and Penderecki recorded together over the course of two days last week at Alvernia Studios in Krakow, Poland. Filip Berkowicz, the Artistic Director of Sacrum Profanum, is serving as producer, the National Audiovisual Institute is preparing the album, and Nonesuch Records will release the final product. The entire announcement is posted in full below.

We’ll keep you updated as more details become available. Also below, you’ll find video of Greenwood performing a piece inspired by Penderecki’s ”Polymorphia” during the aforementioned concert at Sacrum Profanum.

“It will be a fantastic event. Krzysztof Penderecki, one of the greatest composers, and Radiohead’s guitarist Jonny Greenwood, who performed Sunday at the inaugural concert of this year’s edition of the Sacrum Profanum Festival, are recording an album! It will be prepared by the National Audiovisual Institute and released by the legendary American label Nonesuch Records. The record will contain compositions by Penderecki and Greenwood that resounded at the concert crowning Wroc?aw’s European Culture Congress. The album’s tracks were recorded yesterday and today in Alvernia Studios, a studio based near Krakow. The producer of the album is Filip Berkowicz, the Artistic Director of the Sacrum Profanum Festival.”

Hat tip to Exclaim for the heads up.

In an interview with the now defunct Kludge Magazine, Richard D. James (aka Aphex Twin) stated, concerning Radiohead, “I wouldn’t play with them since I don’t like them.” So, some small part of that mindset must have given way because for the last two nights, James shared the stage in Wroclaw, Poland with Radiohead guitarist/music extraordinaire Jonny Greenwood alongside legendary avant-garde composer, Krzysztof Penderecki. Two performances were held at the European Cuture Congress; night one devoted to Greenwood and Penderecki, night two to Aphex Twin and Penderecki. Both Greenwood and James performed their own original compositions alongside their re-works of Penderecki’s original classics from his early 60s compositions. Greenwood debuted “48 Responses To Polymorphia”, while Aphex Twin debuted “Threnody for the Victims of Hiroshima Remix” and “Polymorphia Reloaded”.

We have clips from the concerts below, followed by the program setlists for each night.

Jonny Greenwood – “48 Responses to Polymorphia”:

Aphex Twin – “Threnody for the Victims of Hiroshima”:

Aphex Twin – “Polymorphia Reloaded”:

September 9th Concert Program:
Krzysztof Penderecki “Threnody for the Victims of Hiroshima” (1960–61)
Jonny Greenwood “Popcorn Superhet Receiver” (2005, Polish premiere)
Krzysztof Penderecki “Canon for Strings” (1962)
Jonny Greenwood “Future Markets” from the “There Will Be Blood” soundtrack (2007, Polish premiere)
Krzysztof Penderecki “Polymorphia” (1961)
Jonny Greenwood “48 Responses to Polymorphia” (2011, world premiere)

Krzysztof Penderecki – conductor
Marek Mo? – conductor
AUKSO Tychy Chamber Orchestra

September 10th Concert Program:
Krzysztof Penderecki “Threnody for the Victims of Hiroshima” (1960–61)
Aphex Twin “Threnody for the Victims of Hiroshima remix” (2011, world premiere)
Krzysztof Penderecki “Canon for Strings” (1962)
Aphex Twin “AFX set”
Krzysztof Penderecki “Polymorphia” (1961)
Aphex Twin “Polymorphia Reloaded” (2011, world premiere)

Aphex Twin
Krzysztof Penderecki – conductor
Marek Mo? – conductor
OCT AVA ensemble
AUKSO Tychy Chamber Orchestra

With several of the most acclaimed albums of Generation Y, Oxfordshire quintet Radiohead have intrigued, inspired, and influenced fans and musicians for over two decades. Everything Radiohead does is viewed under a microscope with the brightest spotlight. With such unprecedented adoration and credentials, the band and its members are at liberty to pick and choose who they collaborate with whether it be scoring a soundtrack for a high profile Hollywood director or dueting with an Icelandic songbird, hoping one doesn’t show up to the studio with the same swan outfit.

Because of this “power”, for lack of a better word, we carved out an easy-to-read collective history of the team-ups between Radiohead alumni and their music peers. Some of them have yielded commercial success while others are more obscure, simmering in our collections for a rainy day. While we patiently wait for a world tour, check out the many collaborations the British aural power has accomplished, and from there, let your imagination run wild with any ideal pairings for the future. But, let us know, of course.

-Daniel Torres
News Writer

Feature artwork by Cap Blackard.

Radiohead and Nigel Godrich – 1994

As Radiohead’s informal sixth member, Nigel Godrich is George Martin with computer access. Having produced every one of the band’s records since The Bends, the dude’s knack for hazy, haunting, impossibly dense atmospherics and his cutthroat recording methods are more or less responsible for extracting the genius out of the Oxford Five. From listening to any non-Radiohead record Godrich has produced, it becomes frighteningly clear just how much he contributes to the band’s sound. Listen to Beck’s Sea Change, for instance, and you realize OK Computer was conceived by Radiohead, but raised and brought up to live in Godrich’s world. Seriously, listen to “Lost Cause” while you read the rest of this list. Or just wipe the tears from your eyes as you witness the perfection of “Let Down”. Either way, you’ll hear Godrich’s perfection first-hand. -Drew Litowitz

Radiohead and Stanley Donwood – 1995

But as much as Godrich nurtures the band’s sonic aesthetic, credit for the group’s visual style mostly goes to one man: Dan Rickwood AKA Stanley Donwood. From the Caspar David Friedrich inspired post-apocalyptic landscapes of Kid A to the band’s unofficial logo, the bear, Donwood has defined much of Radiohead’s unique and specifically peculiar visual brand, lots of times with Thom Yorke putting his hands in, too (billed as Dr. Tchock for his visual contributions). Donwood translates the band’s paranoid, possessed themes so beautifully, it’s as if his artwork spilled out from a sound system and onto a canvas (maybe it has something to do with his studio’s location: in a room parallel to the band’s practice/writing space, with speakers sending all those sounds his way). But moreover, the cryptic writings that fill CD inserts, the removed, minimal, eerie phraseology so closely associated with Thom Yorke and co. are in part Donwood’s, too. Good thing Yorke met Donwood at the University of Exeter, or our King of Limbs newspaper album would probably be lacking in the perforated acid tabs department. -Drew Litowitz

Radiohead and Michael Stipe – 1998

Anyone who has seen the very depressing documentary Meeting People is Easy has a bit of an idea of how dark a time the OK Computer tour was for Radiohead, and its famously offish front man. Michael Stipe, the face of R.E.M., could be credited with helping Thom Yorke through that era, suggesting the mantra “I’m not here, this isn’t happening” to weather the stresses and pressures of the road. The line ended up forming the chorus to Kid A‘s “How to Disappear Completely”, one of the band’s most moving works to date. A big influence on their early guitar-driven sound, Stipe has remained tight with the guys in Radiohead over the years, even joining them on-stage a couple of times over the years. Here, we find him and the band in the midst of the aforementioned OK Computer tour, at 1998′s Tibetan Freedom Concert in D.C., sharing the stage for a spirited take on album highpoint “Lucky”. Dig Thom Yorke’s geeked-out boyish grin as Stipe rocks out on the second verse, further proof that he really is human after all. -Möhammad Choudhery

Thom Yorke and U.N.K.L.E. – 1998

If you didn’t know any better, you might think that “Rabbit in Your Headlights” was simply a Radiohead song. It opens slowly, somberly, with Yorke’s voice only accompanied by piano. But, as the song rolls on, the samples keep coming, and it becomes more like an excellent U.N.K.L.E. track. “Rabbit in Your Headlights” was a touchstone tune on their 1998 debut, Psyence Fiction. The song itself is a fantastic slow build that is guided by Yorke’s soaring and haunting vocals, and is perhaps U.N.K.L.E.’s greatest song. The track reached legendary status, though, with the John Glazer-directed music video that is widely regarded as one of the greatest of all time. This might be the most effective use of a Thom Yorke guest spot out there. The song just wouldn’t be the same without him. -Carson O’Shoney

Venus in Furs – 1998

For Todd Haynes’ David Bowie-inspired glam rock movie, 1998′s Velvet Goldmine, Thom Yorke and Jonny Greenwood teamed up with Suede’s Bernard Butler, Paul Kimble of Grant Lee Buffalo, and Andy Mackay of Roxy Music to form Venus in Furs. In total, this Radiohead-infused incarnation of that group recorded three songs for the Velvet Goldmine soundtrack, all of which were Roxy Music covers: “2HB”, “Ladytron”, and “Bitter-Sweet”. A band also appears in the film under the name Venus in Furs performing Brian Eno’s “Baby’s On Fire” and “Tumbling Down” by Cockney Rebel, but the on-screen version doesn’t include Yorke or Greenwood. -Austin Trunick

Thom Yorke and Sparklehorse – 1998

Radiohead has long had a connection to Sparklehorse. Mark Linkous and his band opened for Radiohead in Europe during their OK Computer tour in 1996. Shortly after that string of dates, Linkous recorded a haunting cover of Pink Floyd’s classic “Wish You Were Here”, while Thom Yorke literally phoned in some subdued, but beautiful backing vocals. Obviously more Sparklehorse than Radiohead, the result nonetheless ended up being one of the most gorgeous Pink Floyd covers out there. First appearing on the 1998 EMI compilation album Come Again, the cover gained popularity after being chosen to play over the closing credits of the 2005 Heath Ledger skating flick, Lords of Dogtown. Today, the cover is even more poignant than ever, after Linkous’s tragic suicide in 2010. -Carson O’Shoney

Jonny Greenwood/Nigel Godrich and Pavement – 1999

Pavement’s final album, 1999′s Terror Twilight, was riddled with cliché tales of a band falling apart, and diverting from their normal recording path wasn’t exactly helping the situation. For the first time in their career, Pavement brought in an outside hire to produce the album, long-time Radiohead producer Nigel Godrich. While the end result was somewhat of a mixed bag, it undeniably had that Radiohead feel to it (just compare the opening lines of “Spit on a Stranger” with “My Iron Lung” or “No Suprises”). And if that’s not enough of a Radiohead connection for you, Jonny Greenwood, a long-time Pavement fan, added harmonica to “Platform Blues”. With OK Computer and Beck’s Mutations under Godrich’s belt, Terror Twilight would prove to to be a lovely mess, and probably wouldn’t exist in its current state without the seven degrees of Radiohead. -Jeremy D. Larson

Thom Yorke and PJ Harvey – 2000

In 2000, two particular artists had watershed years in which they released critically-acclaimed albums that were drastically different from their previous sound. Radiohead dropped the alternative rock vibe that was spread throughout the ’90s, opting for the electronic and eccentric stylings of Kid A. Less than a month later, PJ Harvey released Stories from the City, Stories from the Sea. Rather than the unsettling, dark sounds that surrounded 1995′s To Bring You Me Love and 1998′s Is This Desire?, this album was full of beautiful melodies and lush layers.

Right in the middle of the record is Thom Yorke’s appearance on “This Mess We’re In”. Unlike the distorted, masked vocals he favored on Kid A, his voice is crystal clear here as it alternates between emotional pleas and passionate falsettos. It counters Harvey’s soft-sung lines in the chorus and doesn’t feel like an intrusion, which famous guest spots can occasionally become. Instead, the song and appearance slid right into the flow of the tracklisting. With chemistry like this, we’d love to see another collaboration, even if it’s just the length of a song. -Joe Marvilli

Thom Yorke and Björk – 2000, 2008

Originators each in their own right, Thom Yorke and Icelandic songstress Björk have collaborated on more than one occasion. The pair first worked together in 2000, on an album version of the song “I’ve Seen it All”, for the soundtrack to the Björk-starring film Dancer in the Dark. Listeners received their first taste of the potential of this dynamic duo, with Yorke’s vocals lent to Björk’s playful ideas as a songwriter. The two would later reunite in 2008, only this time through file-sharing. Björk was responsible for the production on “Náttúra”, adding Yorke’s backing vocals to the charity single for Iceland’s Náttúra Foundation. -Lauren Rearick

Radiohead and Humphrey Littleton – 2001

The only song on Amnesiac to not come from the Kid A recording sessions, “Life in a Glass House” is arguably Radiohead’s most shocking track. Radiohead doing a New Orleans style funereal tune?  Shit, that’d be like Radiohead doing a New Orleans style funereal tune! But it happened, and it remains one of the band’s strongest and most affecting songs to date. And the idea came from the guy whose band literally jazzes the eerie song up, Humphrey Lyttleton. Radiohead enlisted the former radio personality and British New Orleans Jazz revivalist to help flesh the song out in studio, with little idea of what they were looking for. Lyttleton described arriving at the idea in an interview (via Ateaseweb): “We had a meeting up at the BBC and I said, sort of half jokingly, ‘Sounds to me as though the sort of thing that might go would be New Orleans funeral music’ because as you know, it’s not ‘Happy Days Are Here Again’ when they perform. And [Jonny Greenwood] said ‘Yeah, great idea’.” In Lyttelton’s own words, spoken after the band had spent over seven hours recording those additional parts, “That’s it, it’s not going to get any better than that.” -Drew Litowitz

Thom Yorke and Space Ghost – 2001

Thom Yorke’s frustration with the shallowness of late ’90s music journalism is famously chronicled in the film Meeting People Is Easy. It’s that frustration that makes Yorke’s appearance on Space Ghost Coast to Coast in September of 2001 a special treat. Faced with caricatures of the self involved, preening, MTV style talking heads that haunted him, Yorke finally got to show fans what he saw. Met with increasing indignities, from the host blatantly burning 100 copies of Amnesiac, to being challenged to a knife fight with Moltar, he plays along. The knowing smile that crosses his face as the interview spirals hopelessly out of control seems to be laughing at every “reporter” who wasted his time. Only this time Yorke got to be in on the joke. -John-Michael Bond

Thom Yorke and Beck – 2002

The line-up for 2002′s Concert for Artists Rights at LA’s Wiltern Theatre seemed promising enough. Eddie Vedder, Mike Ness, and Beck were all set to perform for a benefit for the Recording Artists Coalition (RAC), and their interest in protecting the rights of recording artists. While the show was surprisingly intimate considering the multiple big name headliners, the true surprise of the evening came at the end of Beck’s set, when he invited his close friend on stage, who turned out to be none other than Thom Yorke. What followed was a beautiful, acoustic duet on a cover of The Velvet Underground’s “I’m Set Free”, which resounded beautifully with the benefit’s theme, and gave the friends a chance to share their serene musicianship with one lucky audience. -Karina Halle

The Weird Sisters – 2005

“Please welcome the band that needs no introduction!” shouts the diminutive Professor Flitwick, before shooting a beam from his magic wand that brings up the house lights on The Weird Sisters, one of the biggest bands of the wizard world. Booked by Dumbledore to play the Yule Ball at the Hogwarts School of Witchcraft and Wizardry, the band sets the soundtrack for the young Harry Potter and Ron Weasley’s evening of adolescent pining.

In the film version of 2005′s Harry Potter and the Goblet of Fire, Radiohead’s Jonny Greenwood and Phil Selway appear as two members of the fictional band, along with fellow English musicians Jarvis Cocker and Steve Mackey of Pulp, Jacon Buckle of All Seeing I, and Steven Claydon of Add N to (X). A full music video for the band’s performance of “Do the Hippogriff” is included on the DVD releases of the film, while the group recorded a total of three songs for the film’s soundtrack. -Austin Trunick

Thom Yorke and Modeselektor – 2007

When Yorke speaks openly of his favorite bands, it’s likely many will heed his recommendation. Not only did Yorke give Modeselektor his approval, but he added his own vocals to a track from the band’s full length, 2007′s Happy Birthday. For Yorke’s work on “The White Flash”, he seems to have taken inspiration from his solo work on 2006′s The Eraser. His familiar vocals are distorted, echoing amongst the blips and beeps expected of Modeselektor. In interviews and handcrafted playlists, Yorke has spoken candidly of his appreciation for the band. Since then, during his surprise DJ sets, Yorke has even been known to drop Modeselektor’s “Kill Bill 4″. -Lauren Rearick

Jonny Greenwood and Paul Thomas Anderson – 2007

Scathing strings, open spaces, lingering keys, bouncing plucks, the click clacking of drumsticks on wood. Jonny Greenwood’s truly epic soundtrack to Paul Thomas Anderson’s masterful There Will Be Blood isn’t just a soundtrack, it’s just about the only music that could accompany a film of TWBB‘s magnitude. Only Greenwood, with his insane, near-impossible alignment of classical sensibilities with Radiohead’s engrossing, avant-garde leanings, could have created a soundtrack so utterly in tune with its subject and entirely self-sustaining. The music prompts audiences to analyze each hair-raising movement, all without distracting from the action onscreen. With portions from Greenwood’s “Popcorn Superhet Receiver” and his previous soundtrack for Bodysong, in addition to some nods to Arvo Part and Johannes Brahms, the soundtrack may have been disqualified from the Oscar race, but it’s surely one of film’s most memorable accompaniments in a while. -Drew Litowitz

7 Worlds Collide – 2008

Ed O’Brien and Phil Selway have been a part of Neil Finn’s music project, 7 Worlds Collide, going on over a decade. The collaboration, with a host of different musicians, came together most recently in late 2008 to record a new album and prep for a few live shows in the following year. Perhaps the most memorable team-up during these performances came courtesy of the aforementioned O’Brien and Selway, along with most of Wilco, The Smiths’ Johnny Marr, and Finn’s son, Liam. With Wilco’s Jeff Tweedy on vocals, the all-star group braved ahead with a cover of “Fake Plastic Trees”, which sent indie kids and their cool uncles into a frenzy. Members of three of the best bands of the past 30 years together? Check. A big bear hug between O’Brien and Tweedy at the song’s conclusion? Heartwarming check. -Justin Gerber

Atoms for Peace – 2009

When people heard Thom Yorke’s The Eraser, many argued that it was the most logical step for the Radiohead frontman to take. On the other hand, some expressed confusion and were torn on the effort. What most agreed upon is what he ended up doing with the material – live, that is.  Towards the end of 2009, Yorke informed the world that he had formed a band with Flea and Nigel Godrich, saying that they’d been jamming, only they hadn’t thought of a name yet. Only a few months later, Thom Yorke’s name appeared on the Coachella 2010 poster with four question marks next to it. Yorke and company would go on to call this project Atoms for Peace, and they were the kind of live show that people needed in absence of Radiohead. They went on the road to play The Eraser in its entirety, plus a few other gems, but this wasn’t the slow piano album of yesteryear. With Flea involved, they kicked up the funk (quite a bit), and turned the somber tunes into a dance party. In hindsight, Atoms for Peace put on some of the coolest shows in 2010, and showed that Thom Yorke is pretty much capable of anything. -Ted Maider

Thom York and Mark Mulcahy… and Andy Yorke – 2009

This cover track is a double collaboration, in a sense. Not only is the song founded on the friendship/mutual admiration of Thom Yorke and Mark Mulcahy, former lead singer of the now defunct alt-rock band Miracle Legion, but it marks the first time Thom Yorke has ever recorded with his younger brother, Andy Yorke, also a musician. The cover stays dramatically true to the original recording, right down to the vocal inflections and buzzing guitar solos, yet, somehow, Thom Yorke still manages to plant his somber seeds. What was once a fairly upbeat song, musically, is now given the proper textures to match the haunting lyricism that drives the song. The track is part of a very heartfelt tribute album that was an attempt to raise money for Mulcahy, who lost his wife unexpectedly, leaving him to raise his twin daughters on his own. -Winston Robbins

Thom Yorke and Flying Lotus – 2010

As Flying Lotus and Thom Yorke have crossed paths, every interaction has pushed the former’s career to greater levels of exposure and success. First, Mr. Ellison dropped a pretty sweet remix of “Reckoner”, raising Yorke’s voice above crackling drums. Soon after, “…And the World Laughs with You” put an immense amount of warranted focus on the excellent Cosmogramma. Yorke’s otherworldly guest spot puts a spine-tingling spin on the spacey song. The looped and distorted vocals bring to mind his own work on Kid A and The Eraser. But Lotus’ style adds a dance-y touch of warmth that fits right into the musical landscape he’s built throughout the album.

On top of this release came his opening slot with Atoms for Peace. If you were lucky enough to see Yorke’s supergroup play through The Eraser along with a few other numbers, Flying Lotus was a major bonus. The audience was dancing, jumping around, and positively freaked out at the “Reckoner” and “Idioteque” samples. Let’s hope Lotus and Yorke keep close, just for the positive effects it seems to have on his career. One of the most innovative upcoming artists today deserves the attention. -Joe Marvilli

Thom Yorke and Burial and Four Tet – 2011

The most recent of Thom Yorke’s solo collaborations comes in the form of his avid interest in glitch/IDM music. Teaming up with UK producers Burial and Four Tet, Yorke released a 12” comprised of two tracks, “Ego” and “Mirror”. The result? A subtle, wonderfully textured pair of songs that not only showcase the impeccable skill of Four Tet and Burial, but reveal a side of Thom Yorke scarcely seen in so large a dose. It’s not a secret that Yorke has a tendency to lean towards the electronic when on his own, but never has he delved this deep into the genre. Let this not deter you, however; Yorke sounds his finest next to the blips and chirps Four Tet and Burial have so deftly founded a career on. -Winston Robbins

Radiohead and Clive Deamer – 2011

After a new LP and surprise Glastonbury performance left fans and critics polarized, Radiohead needed to hit an RBI, or do something, to quell the internet chatter. Instead of releasing another B-side or remix, they simply went downstairs to jam in the basement. Last week, Radiohead – The King of Limbs: Live From The Basement surfaced on the ‘net after appearing on television in Spain. In just under an hour, Radiohead tore through their new material, revealing how the quintet (and not just Mr. Yorke) really did have quite a role in the latest effort. They weren’t alone, either. Session musician Clive Deamer, who has worked with everyone from Jeff Beck to Portishead, joined in on drums, pummeling alongside the group to produce what everyone ultimately agrees upon was a tight, intimate set. No telling where his future lies with the band, but if this is his only contribution, he certainly proved his worth. After all, they didn’t just hit an RBI here, they stole home – err, the basement. -Michael Roffman

Film critics love to throw around the word “Lynchian” to describe genre films that borrow a few of those elements. These pieces shift dramatically in tone, and rather abruptly so, too. There’s this dreamlike quality to them that baits its audience and it’s been programmed that way. There’s a specific reasoning for every image, every sound, and every action. Or, is there? That’s the game. Not to throw around labels too much, but Thom Yorke’s style tends to be very Lynchian. He teases his fanbase with cryptic clues, whether it’s a reference to past lyrics or sentence fragments that start an impromptu scavenger hunt (that usually lead nowhere, anyhow), only to turn the wheel unexpectedly. If we’re to analyze the musical landscapes he creates, they typically start grounded and work their way out into abnormal terrain that we’re, more often than not, left to discover on our own. Or, it’s just vice versa. These compositions beg to be analyzed, scoured, and processed. They’re cult-like in nature, but only because there always seems to be some deeper implicit meaning. It’s a mythos, essentially. It’s why Radiohead remains one of the most powerful bands on this clusterfuck of a planet. Well, that and because they happen to be extraordinary musicians, too.

On The King of Limbs, the group’s already highly celebrated eighth studio album (it’s only been three days, by the way), Yorke continues his formidable hi jinks, kicking off what will undoubtedly be another decade blistered with lyrical mazes, influential instrumentation, and critical gift baskets. Now, a preface before we go forward. This isn’t anything new for the band. They’ve been playing these games since the ’90s. (What exactly does the man say at the end in “Just”? What? What?) It’s only now, in an age where communication is instantaneous, abundant, and at times superfluous, that the games have really just begun. Ever since they shocked the music industry by releasing 2007′s In Rainbows in a pay-what-you-want on-sale, everyone, fans or not, has come to believe that “anything can happen with these guys.” It’s true.

But, you have to merit such actions. You can’t spin populations without probable cause. You need to deliver. Any hack could attempt to make their own version of Mulholland Drive (oh, they have) but most of them just fall flat on their face (that’s happened, too). It’s not just about the games, it’s about what’s on the other end. Radiohead carries an incredible resume. Each of the band’s records are remarkably hard to argue against — even 1993′s Pablo Honey, still an incredibly underrated effort; it’s essentially ’90s alt. rock bliss, people — and for that they can continue to post obscure paintings, tweet Japanese locales, and make vague, ominous “prophecies” that fans can hope and pray come true. It’s all deserved.

Okay, so how do they still fare? With The King of Limbs, reasonably well. Let’s focus on the format, shall we? At just eight tracks long, the whole effort feels less like an LP and almost like an adrenaline-charged EP — at least by Radiohead’s standards. The songs aren’t even necessarily lengthy, either. Its entirety is under 40 minutes and the longest song clocks in at 5:20. Certainly disheartening to its devoted fanbase, but then again, they treat clips on YouTube like nuggets of gold. It’s musically where things get tricky…for everyone, really.

On first listen, the most obvious question is, “Where’s the band?” If you recall, their last effort, In Rainbows, packed a punch that hit the heart again and again. Although short, too, with 10 tracks, it left little room to complain; instead, it assumed an authority about itself: It knew what it wanted to be and it arrived concise and distinguishable. What’s more, it humanized the band. It felt like five people in a room, crafting their best work, and honing in on their talents for, what, their sixth time? Maybe their seventh, depending on how devoted to each album you are. With The King of Limbs, it’s still incredibly alluring, but something’s changed.

It’s the unity. It’s just not there. Sometimes with a band that’s incredibly versatile and yet personable – you know, like Radiohead – you might hear folks say, “Oh, this is definitely a so and so’s record.” These conversations usually happen with The Beatles. If we’re to use that old adage, then this is definitely Thom Yorke’s show here. In fact, it takes quite some digging to find, say, Jonny Greenwood, or Phil Selway, and especially Ed O’Brien. Colin, too, if you’re that fan. There’s the street corner drumming on “Bloom”, but eventually it just dwindles into this dully electronic sound. Then there’s the light, very “Bulletproof…”-esque guitar flairs on “Give Up The Ghost”, but that could be Yorke, too. That’s not to say his focus is a detriment, but it’s somewhat problematic when he’s done his own thing, and it sounds oddly similar to what we have here.

For example, there’s little separating solo cuts like “Black Swan” or more recently “Hearing Damage” from the trip hop sensibilities that litter Limbs tracks like the erratic, nail biter “Feral” or the graceful-yet-empowering “Lotus Flower”, the latter tune even more of a head scratcher, due to the fact that Yorke originally performed it with Atoms for Peace. He’s just so center stage in all of this that it becomes rather damning and almost, dare we say, cryptically bothersome. It also offers for little variation; in fact, few songs here feel as singular as any of the group’s previous efforts. The very orchestral “Bloom”, for instance, hints at the few genres they’re dabbling with – specifically that dubstep minimalism, no doubt influenced by Yorke’s time spent with Flying Lotus – and it eventually explodes into a blistering aural storm that later subsides into what sounds like an afternoon rain shower. It’s beautiful, but immediately replicated with “Morning Mr Magpie”, which becomes another exercise in repetition, only far more static and less intrinsic. Having collected dust in the band’s archives for years, the track sounds remarkably different than what Yorke premiered during a webcast back in 2002. What started as an acoustic crooner has since evolved into something indistinguishable; the engulfing instrumentation, the roaming pace, and Yorke’s satellite harmonies all, ironically, feel vacuous and nearly nauseating. When Yorke coos, “They’ve stolen all my magic/And took my melody,” he’s not lying. Truth is, nobody’s taken his magic here, they’ve just relied on it too much.

Though given the album’s title, a reference to a 1,000-year-old oak tree in Wiltshire’s Savernake Forest, which was three miles away from where they laid down tracks for In Rainbows, it’s apparent they haven’t abandoned that era just yet. Some of the songs prove this. You can’t listen to “Little by Little”, and not help but picture the band all together, somewhere in a dark Liverpool basement lounge, with Yorke preferably dancing in black leotard amidst cigarette smoke and Euro hipsters. The more humane elements continue. “Codex” complements the lone emotional aspects of previous album closer “Videotape”. When Yorke wails, “No one around,” it’s odd because it’s one of the few moments here where he doesn’t feel alone, even despite the lonely nature of the track. Jonny Greenwood surrounds him with horns and strings, a subtle orchestration that makes you think twice about the other tracks on the record. The same goes for “Seperator” (originally titled “Mouse, Bird, Dog”), which slowly ropes in each instrument as it builds and climbs into a powerful closer, not unlike what fans originally pegged “Videotape” to be. For Jonny enthusiasts, this one should be on repeat, although altogether, these three should stick out immediately.

There’s one last thing to consider here, though. For the entirety of the band’s career, they’ve set out to shatter expectations and go one step higher. Perhaps they’ve shifted their mission? If we’re to take The King of Limbs as a concept, even paying close attention to its more cryptic details, then there’s plenty to conclude. Die hards will no doubt etch the album’s final lyrics (“if you think it’s over, then you’re wrong”) onto their walls and notebooks until they’re finally proven right that there’s a second half to the record. But outside of that, there’s a bigger message here: They’re exploring sound, rather than naming it. Focus on the empty moments (i.e. the 26 seconds after “Codex”), the album name (that aforementioned tree), and the genres they’ve dabbled in (tribal? jazz? dubstep? handclappers united?). It’s essentially a 37 minute jam session; one where they’re carving out their current sensibilities and seeing where they run. While Yorke sounds front and center, he’s not really alone. Those subtle nuances, the little hums, the clattering beeps, and the scratchy percussion? They’re the sounds of five souls, not just one. And while they might not have crafted their best work this time around, they did assemble one of their most absorbing efforts to date. Just remember, nothing’s ever obvious with Radiohead. There’s always something behind those trees and within that mirror – even if you’re convinced at face value. By now, though, you should know how to find it.

So…how about that second half now?

Feature artwork by Drew Litowitz.

Image via Hipster Runoff

Ask any member of the CoS news team what keeps them up at night and they’ll likely tell you it’s the excitement/fear of Radiohead dropping an album at 4:45 AM. That’s exactly what happened earlier this morning; fortunately, Harry Painter and Mike Roffman are insomniacs.

But Radiohead’s surprise new album wasn’t the only bombshell of February 14th, 2011. From Arcade Fire’s Grammy win to Zooey Deschanel’s new tv gig, today’s music headlines were as hot as they are heavy. So what better way to remember the most insane day of 2011 then by recapping it in bullet form below!

– Radiohead‘s eighth album, The King of Limbs, arrives this Saturday. In related news, that box of chocolates no longer qualifies as a decent Valentine’s Day gift.

– In even more Radiohead news, guitarist Jonny Greenwood will score We Need To Talk About Kevin, a forthcoming film starring the equally amazing John C. Reilly.

– Arcade Fire‘s Win Butler might be pissed at his ex-bro, but he has something that Thom doesn’t: a Grammy for Best Album. Also, we have a recap of all the Grammy performances.

– Queens of the Stone Age will take their newly reissued self-titled debut on the road this summer.

– The punk-tastic Green Day shared a mastered live version of “Cigarettes and Valentines”.

– You’ll need 12 iPhones to hear all 12 parts of The Flaming Lips’ new single, “Two Blobs Fucking”.

– Zooey Deschanel has signed on to star in a new Fox TV pilot entitled Chicks and Dicks. Suddenly, I care about sitcoms again.

– Florence and the Machine announced a series of headlining tour dates.

– Yeasayer gave us a Valentine’s Day triple whammy: a free EP, new video, and tour dates.

– Slipknot frontman Corey Taylor might need to update his resume. It looks like he is joining Velvet Revolver.

– Finally, Mavis Staples, Califone, Bill Callahan head the 2011 edition of the Pickathon Music Festival. Click here to check out the full lineup and read an interview with festival co-founder Zale Schoenborn.

Based on a 2003 novel by Lionel Shriver, the film tells the story of a mother (Tilda Swinton) of a teenage boy who went on a high-school killing spree tries to deal with her grief — and feelings of responsibility for her child’s actions — by writing to her estranged husband (John C. Reilly). Scottish director Lynne Ramsay, best known for the films such as Ratcatcher and Morvern Callar, will oversee the project.

According to IMBD, the film is due out sometime in 2011. There is no word on if and when the soundtrack will receive release. While we wait for additional details, be sure to pick up Greenwood’s other recent film score, Norwegian Wood, when it hits U.S. stores March 8th via Nonesuch.

Come midnight tonight, there will be nationwide theater showings of Harry Potter & The Deathly Hallows: Part 1. There will be packed houses, there will be costumed fans, there will be the bittersweet flavor of an impending “To be continued…” moment: J.K. Rowling’s finale to the seven-book series has been translated into a two-picture deal, with Part 2 slated for release in July of 2011. It has now been over a decade, and from beginning to mind-numbingly merchandised end, we have anticipated an ultimate closure. In retrospect, the scores of this film franchise are not anything to go pushing bandwidth or iTunes gift cards over.

To quote Buzz McAllister: “…enough of this gooey show of human emotion.” Let’s get to the glazed meat of the matter.

While The Twilight Saga has produced numerous alternative-friendly soundtracks, the wizarding world has rested upon a John Williams-approved theme piece and some safe orchestration we won’t write home about. In 2005, Harry Potter & The Goblet Of Fire hit big screens, and during scenes from Hogwarts’ Yule Ball, snippets of a band were seen playing to rabid students and faculty. Contrary to what Flitwick will have you believe, the “band that needs no introduction” warrants precisely that, because The Weird Sisters have graced many a Muggle’s iPod over the years, albeit in fragmented form.

Radiohead fans out there may remember drummer Phil Selway’s recent foray into solo work, as well as guitarist Jonny Greenwood’s hand in the score to There Will Be Blood; it appears that, between Hail To The Thief and In Rainbows, these two joined some other eccentric fellows on a gig originally thought to be Franz Ferdinand’s. Think your band has played everywhere in the known world? Try claiming to have performed for wizards and witches, and see how many laugh you off as if you were Max Denison delivering his Sanderson Sisters warning in Hocus Pocus.

Here is the line-up for The Weird Sisters:
- Jarvis Cocker (Pulp) as Myron Wagtail, vocals
- Jonny Greenwood (Radiohead) as Kirley Duke, lead guitar
- Jason Buckle (All Seeing I) as Heathcote Barbary, rhythm guitar
- Steve Mackey (Pulp) as Donaghan Tremlett, bass
- Steven Claydon (Add N to (X)) as Gideon Crumb, keyboards and bagpipes
- Phil Selway (Radiohead) as Orsino Thruston, drums

The Weird (“weird” as in “strange”) Sisters were not credited as such — nor given nearly as much screen time — in the original release, due to trademark disputes from Canadian folk-rock band The Wyrd Sisters (“wyrd” meaning “fate”). With elements of Pulp’s driving Brit-rock aesthetic, Radiohead and All Seeing I’s guitar work and rhythm, and a little avant-garde from Add N to (X), we find a bonus feature on the Goblet Of Fire DVD: a music video of The Weird Sisters’ “Do The Hippogriff”. Truthfully, the resulting song sounds very much like Pulp on a party riot, and we can totally see how Franz Ferdinand would have blended in here.

The fictional band in question has released three songs to date, the others being “This Is The Night” and stereotypical promenade slow number “Magic Works”. Why go with “Do The Hippogriff” as a Break Yo’ TV? Why not just any old video to taunt, tease, and cast a killing curse upon? First off, watch the video below; what would it be like to live in this magical world of wonders, let alone attend a concert in it?

What dynamics would change if you replaced standard Marshall stacks with a literal Wall of Sound that can be enchanted to do anything — from spouting edible peppermint snow with Hogwarts’ magnificent themed ceiling in tow, to adjusting its volume for every individual audience member? If you attended this school dance, would you be a wallflower whimsically listing away with a charmed origami crane? Would you be bold and ask a giantess to waltz? Better still, imagine Greenwood and company had played your prom (minus the wizarding parts).

Secondly, ’tis the season of thankfulness, generosity, and overeating, is it not? What better way to celebrate an upcoming Radiohead album and Harry Potter film than all together as one? Freaks and geeks, hipsters, even the damned glittery vampire folk, dancing the night away in perfect harmony. Just as in the Rowling universe, these are dark times on multiple levels. Imagine yourself here, or even in the dank clique society of high school, having that one night where hopeless romance took over the looming adult cynicism and barking political media circuses.

Now…again…imagine Greenwood and company playing your event. I don’t care who you side with — Twilight or HP, Mac or PC, whatever spiritual familiars strike your fancy — we can all enjoy this. Music is the great unifier in a world of vast divides, so shrug off the nargles and kiss under that mistletoe. Good times, and don’t forget to include the first Potter film with that copy of Home Alone 2 on VHS when spreading the Chris Columbus directorial cheer.

I’m off to have a cup of wassail — care to join me?

“I think this italian writer has, either thorough over-enthusiasm, or frustration at all my non-committal answers, mistranslated me a little….in fact we haven’t quite finished the album – in the studio at the moment – nor have we yet considered any touring. The plan is to have no plan until the record is finished….hope that’s a little clearer!”

The surprise redesign of Radiohead‘s website gave us the first indication that a new album might be close, but now we have some actual words to back it up. Speaking recently with Rolling Stone Italia (via At Ease), Radiohead guitarist Jonny Greenwood confirmed that the band is “almost finished” with the followup to 2007′s In Rainbows and plan to support the release with a “big tour.”

While Greenwood didn’t digress much on specific aspects of the album (he even admitted he tends to remove himself from the decision making process), the guitarist did say “10 pieces (tracks) maybe some more” would be included. Greenwood also noted that the band has yet to decide how to release the effort.

Stay tuned for more details, but I guess that goes without saying.

“I’m friends with the guys in Radiohead,” said Norton, “and Jonny Greenwood met me in London a while back when John (Curran, the director) and I were developing the script.

“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.”

No word yet on the specifics of the soundtrack, or whether or not the score will feature specific tracks or whether there will just be Radiohead-esque ideas thrown into the score. And unfortunately, it doesn’t appear as if there is a soundtrack available for purchase as of yet.

So if you want to hear their work in Stone, which also stars Robert De Niro and Milla Jovovich, catch it when it hits theaters October 8th.

And in case you were grabbing some peaches from your Y2k shelter and got locked in or something the other week, Radiohead announced they have  finished recorded a “group of songs.” Read all about it, including Colin Greenwood’s mini-dissertation on the future of music distribution, here.

This essentially means that I have to find creative ways to articulate the same message come Friday. It’s an enjoyable albeit challenging task.

Well, at the risk of sounding utterly illiterate, here’s my latest attempt: this week didn’t suck, but it also kind of did.

Read the following round-up of major events and you’ll understand what I’m talking about.

– Guess what? Hip Hop beefs are still going strong.

– Will Jay-Z release an album next year? We’re not sure, but we can definitely tell you that he’s writing a book. He’s also got some big NYE plans involving Coldplay.

– Will Muse play Lollapalooza next year (again)? Decide for yourself.

– We got a heaping dose of 90s nostalgia this week, what with the return of Olivia Tremor Control and the emergence of a new supergroup called Wild Flag (featuring members of Sleater Kinney).

– Lil Wayne detailed I Am Not A Human Being. Weezy also found time to collaborate with Drake. (And did I mention the Diddy- Timberlake single?)

– Lupe Fiasco‘s new album Lasers still isn’t out yet, so his fans are now retaliating.

– Ben Kweller dished on his new LP.

– Dr. Dre can now add “created personal brand of cognac” to his list of accomplishments.

– The “lost” M.I.A. single surfaced courtesy of Diplo.

– Stone Temple Pilots postponed the remainder of their U.S. tour.

–  Charlatans UK cancelled their stateside performances so their drummer can undergo treatment for a brain tumor.

– Atoms For Peace killed at this year’s Fuji Rock Fest.

– There are also two new LCD Soundsystem clips to watch. Check out an awesome performance of “Dance Yrself Clean” and the unofficial video for “Home.”

– Pavement jammed with a fan on Fallon.

– Jonny Greenwood and the BBC Concert Orchestra will come together for a one-off live performance. (And Jarvis Cocker’s presenting. What more could you possibly want?)

– CMJ Music Marathon announced another round of adds to its already impressive lineup.

– Suffering from the post-festival season blues? Consult our Fall Concert Preview.

– We’re also pleased to announce our partnership with SeatGeek.

– Want to go to MoogFest for free? Find out more here.

– Michael Roffman reviewed a rowdy, indie-heavy show at Chicago’s Metro featuring Titus Andronicus, among others. He also found time to catch Roger Waters perform The Wall in its entirety.

– Jeremy Larson had an “incredible night” at a recent Tallest Man On Earth show. You can also read our review of the Swedish singer-songwriter’s new EP if you’re interested.

– Philip Cosores shared his thoughts No Age‘s latest offering.

– Chris Coplan did likewise for Wake Up, featuring The Roots and John Legend.

– And as if we don’t post lots of reviews already, read what Ryan Burleson had to say about Deerhunter‘s Halcyon Digest.

– E.N. May interviewed the Ice Cream Man. If you have no clue what I’m talking about, click here.

– Oh yeah, and Kanye West is “So Appalled”.

But before you bust out your Ok Computer t-shirt and withdraw your live savings for tickets, you should probably know this: the concert will come in the classical music variety. On October 6th, Greenwood will travel to the Queen Elizabeth Hall in London for a collaborative performance with the the BBC Concert Orchestra. Dubbed Electronia 1, the concert is intended to explore the evolution of electric instruments and futuristic influences on modern music (via Gigwise).

Greenwood is of course no stranger to the classical genre. In addition to his duties with Radiohead, the 38-year-old Oxford native also serves as the composer-in-residence with the BBC Concert Orchestra, and has written a number of compositions since taking the gig in 2004. Greenwood will perform one such composition, “smear”, at Electronia 1.

The concert will also feature a performance from Goldfrapp producer Will Gregory, who will debut his latest opera, Journeys into the Sky. Better yet, there will also be an electronic reworking of Kraftwerk’s The Model by Anne Dudley. Pulp frontman Jarvis Cocker will serve as the evening’s presenter.

For those who cannot make it to London on the 6th, Electronia 1 will be re-broadcast on BBC Radio 3’s Performance on 3 on November 19th.

Below, you can hear a preview of Greenwood’s “Smear”.

On top of those other big names, add in Pink Floyd’s David Gilmour, Mani of Primal Scream, and the Scissor Sisters. Oh, but wait, there’s more. In the first time since 1973′s For Your Pleasure, Ferry will team with Roxy bandmates Phil Manzanera, Andy Mackay, and the lord of ambience himself, Brian Eno. Plus, Ferry’s collaboration with Groove Armada, “Shameless”, also makes its way onto the album. If that isn’t some star power, then we’re not sure what is.

Enjoy the full tracklist below (and, yes, those are Tim Buckley and Traffic covers.) “You Can Dance”, the album’s first single, drops August 9th. Olympia hits stores October 25th via Virgin Records.

Olympia Tracklist:
01. You Can Dance
02. Alphaville
03. Heartache by Numbers
04. Me Oh My
05. Shameless
06. Song to the Siren
07. No Face, No Name, No Number
08. BF Bass (Ode to Olympia)
09. Reason or Rhyme
10. Tender Is the Night

What does any of this have to do with CoS? Don’t worry, I’ve got a point to make.

The suburbs can be dire place for a music fan, especially this time of year when the only viable options for many young live music fiends are washed-up rock stars. You’re so close and so far away from great music all at once. There’s so much of it to the point it can be overwhelming. This is where we come into play. We’re here to help you sort things out, to remind you that there’s more to music than the stuff your parents listened to in high school on 8-tracks. You can’t see or hear everything new and exciting, but you can certainly try.

So pour yourself a cold drink, crank up Animal Collective’s “Fireworks” and, well, actually watch some fireworks this weekend. And while you’re at it enjoy the following recap. We’ll be back next week, as always, to keep you up to speed.

– Where would Thom Yorke and Jonny Greenwood play an unscheduled gig? Where would Gorillaz attempt to recreate Plastic Beach in its entirety? Where could you hear a Muse-Edge collaboration? The answer to all three of these questions is Glastonbury. If you couldn’t make it to England last weekend, don’t worry because we’ve got your back.

– Several Lilith Fair dates were cancelled.

– Matador Records unveiled the lineup for its 21st anniversary celebration.

– More artists joined Zach de la Rocha’s “Sound Strike.”

–Things seem to be looking up for BBC 6.

– Eminem continues to enjoy phenomenal record sales. 

– Pete Townshed isn’t totally deaf, at least not yet.

– Kanye West performed his new single “Power” at the BET awards. I don’t censors have had this much fun since The Grammys.

– Kanye West was also accused of plagiarism.

– Jimmy Paige faced similar charges.

–Neither one of these things should come as surprises to anyone, but Courtney Love had another news-worthy meltdown and Trent Reznor‘s up to something on Facebook.

–Remember Rancid? Well, I’m sure you never expected to hear their music in this particular context.

– Andre 3000‘s take on The Beatles’ “All Together Now” dropped. So did a new M.I.A. single called “Teqkilla”.

–Big Boi‘s debut solo effort won’t be out until next week, but enjoy a free mix tape for now.

– Lady GaGa premiered a new song during one of her shows.

– There’s another exciting new Bjork collaboration on the horizon. This time it’s with Antony and the Johnsons.

– Check your newspaper. A new Prince album might be in it.

– Interpol unveiled the artwork and tracklist for their upcoming LP.

– A new Portishead album is in the works, according to Geoff Barrow.

– Los Campesinos! lost their drummer.

– Hip-hop pioneer Rammellzee passed away.

– Chris Coplan shared his thoughts on The Roots‘ How I Got Over (you know, the album with Joanna Newsom).

– Pavement have been going strong on their reunion tour. Read what Ted Maider had to say about their recent Bay Area gig.

– Evan Bright covered The Creators Project.

– Carson O’Shoney interviewed rising singer-songwriter Frank Turner.

– Check out our Third Quarter Music Preview. Three months worth of new music to hear. Think about that.

For a lot of acts, playing Glastonbury is about far more than a paycheck, more exposure, or even a badge of honor like with other festivals. They genuinely desire to be part of the Glastonbury experience, and that makes all the difference in the world. Where else but Glastonbury would headlining superstars play for a minimal paycheck, U2’s The Edge perform with Muse, Kylie Minogue sing with Scissor Sisters, and Radiohead’s Thom Yorke and Jonny Greenwood give a rare performance together as a surprise guest?

With an impressively diverse variety and an unparalleled quantity of musical performers, the music at Glastonbury should be enough to put it at the top of the list of destinations for any fan of festivals or lover of music. However, Glastonbury has always been about far more than the music and this was truer than ever at the 2010 edition of the festival. Cabaret and circus performers offer a welcome distraction from the music, as do a cinema tent and a large field with every craft imaginable. Attendees feeling drained by the elements can seek physical and spiritual restoration in the Healing Field, while those unconvinced by New Age healing or with severe ailments can always visit the Emergency Services tent and consult with the onsite doctors, nurses, and dentists for free medical care.

If the weather had made sleeping through more of the 18 hours of daylight a possibility this year, doing so to spend every night at Glastonbury’s different themed late-night areas would have been worth the trip alone. The largest is Shangri-la, a dystopian labyrinth of crowded alleys full of interactive art exhibits, karaoke, bars, and even more stages. Arcadia’s massive, multi-leveled fire-breathing, and laser-firing monstrosity of a stage is a sight to behold, as is the human Tesla coil. Fine dining, tranny bars, and oddities such as the Dog Faced Geisha bar and Bez’s (of Happy Mondays fame) Acid House all offer diversions that are both entertaining and aesthetically astounding. While the main areas of the festival offer cider, ale, and wine at a variety of stands, it is these themed art installations that double as drinking destinations that are the most intriguing and make Glastonbury a strong contender for the best place imaginable for bar-hopping. Even the Temple of the Blessed Bono, a shrine the size of a broom closet, offered Guiness for revelers wishing to pay their “respects.” At Glastonbury, with attendees having only five days to carefully spend, music has no other option but to be good if it hopes to stand a chance against everything else the festival has to offer.

Thursday, June 24th

Boy George
WOW!, 9:00pm

Although Boy George arrived almost an hour late to the WOW! Stage, this new addition to Glastonbury’s multi-stage Dance Village remained completely packed with twice as many people swarming the tent in hopes of hearing anything. Although his voice has deteriorated to more of a strained growl in recent years, the crowd had no problem filling in for Boy George. Not content with merely pleasing the crowd with the singalong classics like “Karma Chameleon” and “Do You Really Want to Hurt Me?”, George filled out the set with covers of Bob Dylan’s “Knocking on Heaven’s Door” and T-Rex’s “Get It On”.

Friday, June 25th

Willie Nelson
Pyramid Stage, 3:15pm

After two long, scorching days, attendees were already suffering the effects of an unexpected, rainless heat wave, which resulted in a cloud of dust so thick that it could be seen at any point of the farm at any time of day or night. Luckily for the fatigued, Willie Nelson’s set was at exactly the perfect time. During his hour-long set, the legend performed thirty songs, including all the classics like “On the Road Again” and the transcendent singalong “Always on My Mind”, united the crowd with a healingly chill vibe, and despite being most well-known as a country singer, highlighted the rock, jazz, and blues influences in his sound. In short, it was a typical Willie Nelson set.

Snoop Dogg
Pyramid Stage, 5:00pm

With two of music’s most notorious marijuana enthusiasts performing back-to-back on the Pyramid Stage, a collaboration between Willie Nelson and Snoop Dogg seemed likely and rumors were passed around almost as frequently as spliffs.  Unfortunately, this alliance never came to pass. Minus a lull near the middle of the set Snoop Dogg’s valiant efforts to get the exhausted crowd up and bumping were successful, as his performance was yet another reminder that hip hop does, in fact, belong at Glastonbury. Hits like “Gin and Juice”, “Who Am I (What’s My Name?)”, and a cover of “Jump Around” delighted a younger-than-usual crowd, especially those too young to remember these songs when they were released. Snoop Dogg also serenaded the ladies in the crowd with the talkbox-featuring “Sensual Seduction”, paid tribute to Tupac Shakur, and departed with three life tips to follow every day: brush your teeth, thank God for another day of life, and smoke weed.

The Big Pink
The Park, 7:10 pm

A large portion of the crowd for The Big Pink was only there to wait it out to see which superstar special guest rumor turned out to be true after their set. Luckily for the band clad mostly in black (except for drummer Akiko Matsuura’s attention-grabbing leotard), the crowd warmed up to their mix of noise and pop, especially after the extended drone of set opener “Too Young to Love”. On “Crystal Visions”, the buildup to the epic crescendo proved especially imposing live. The Big Pink closed their short set with “Dominoes”, inspiring a small but frenetic spontaneous mosh pit at the front of the crowd.

Thom Yorke & Jonny Greenwood
The Park, 8:30 pm

Despite the prevalence of texting, tweeting, and smart phones, Glastonbury is a place that exists in a bubble for five days. Rather than keep track with what’s going on the mundane world (with an exception for the World Cup, obviously), attendees are content with rumors of celebrity deaths and special guest performers. For the formally announced “special guest” slot on Friday in The Park, rumored acts included The Strokes, Katy Perry, Lady Gaga, Peter Doherty, Crystal Castles, Jedward, and Thom Yorke. Surprisingly, it was none other than the best and least expected rumor that proved true.

After an introduction as “the biggest surprise of the weekend; two superstars and I’m not naming them” by festival organizer Michael Eavis, Thom Yorke took the stage alone and adjusted his seat at the piano to better accommodate his modest height, and addressed the crowd with “Short, you see? Hi, my name is Thomas Yorke” before opening with the title track from his 2006 solo release The Eraser. Without Flea or anyone to support him, Yorke looped a bass riff for “Harrowdown Hill” and continued treating the crowd to a sampling of the Atoms for Peace tour that the mostly-European crowd has yet to receive. It was not until four songs into the set that Jonny Greenwood took the stage, joining Yorke for “Cymbal Rush”, complementing the haunting piano with the eerie Ondes Martenot-esque sounds of his French Connection.

While the solo tracks were a rare pleasure, it was the Radiohead material that received the most rapturously. Despite playing the piano throughout most of this stripped-down take on “Idioteque”, Yorke still made the time to treat the crowd to a few seconds of his trademark dancing. The end of “Karma Police” came far too soon for the crowd, with the “I lost myself” refrain repeatedly chanted for over a minute until Yorke picked up the guitar and joined them for a little more, the brightest spot in a performance so magical that the bar for secret sets has now been set unreasonably high. Although the setlist called for “Videotape” to close, they instead opted for “Street Spirit” for yet another powerful Glastonbury moment. Yorke and Greenwood undoubtedly wanted to be a part of the anniversary and Glastonbury was more than pleased to have them.

Gorillaz
Pyramid Stage, 10:00 pm

Stepping in to replace the “biggest band in the world” is no easy task and with Blur’s reunion having been the most memorable set of the previous year, Damon Albarn’s current band seemed like a sure thing. Despite the ambitious nature of Gorillaz, their set was a rare headlining miss that largely failed to live up to the expectations or connect with the crowd anywhere close to the level Albarn had with Blur. Considering how the live band includes Mick Jones and Paul Simonon of The Clash and a list of guest appearances so extraordinary that it will probably never be duplicated or exceeded at a future gig, Gorillaz should have been another Glastonbury hit. The performance itself was spot-on, with Albarn and all his diverse smorgasbord of collaborators sounding better than ever.

On “Empire Ants” and “To Binge”, Little Dragon’s Yukimi Nagano was mesmerizing with her natural stage presence and soulful voice, and Lou Reed offered what should have been a legendary Glastonbury moment by sharing a stage with Damon Albarn and half of The Clash on “Some Kind of Nature”. Unfortunately, the crowd just did not care. Apparently most people either never bothered to listen to Plastic Beach or merely did not like it, yet felt obligated to watch Gorillaz anyway, because the crowd was significantly restless, with people leaving in droves throughout the set. Essentially, the Gorillaz live show is an experience for fans of their albums, and will not convert any casual listeners only interested in the hip-hop oriented hit singles and the cartoon imagery. Perhaps the key to a triumphant headlining performance is the presence of anthems, which is something the most well-regarded headliners of the past share. A song can be anthemic even without being a big hit, and vice versa. As diverse and creative as the music of Gorillaz is, headliners at Glastonbury need to have that chorus or even a single line that can be repeated ad nauseam at the campgrounds all night, with edgier and more eclectic fare on other stages and timeslots. What remained of the crowd did show signs of life for set closer “Clint Eastwood”, which featured special guest Snoop Dogg’s rhymes replacing those of the absent Del tha Funkee Homosapien.

Saturday, June 26th

Scissor Sisters
Pyramid Stage, 8:15 pm

Between songs, vocalist Ana Matronic revealed that although this was only the second performance of Scissor Sisters at Glastonbury, it was actually her fifth time at Worthy Farm. The love for Glastonbury was also shared by singer Jake Shears, who proposed to his boyfriend at the fest six years prior in the now defunct Lost Vagueness area. Personal attachments to the festival aside, the glam disco of Scissor Sisters was yet another Glastonbury success story. New songs from the recently released Night Work kept the crowd moving just as much as old hits like “Laura” and “I Don’t Feel like Dancing”. Rumors of a Kylie Minogue appearance proved true as the pop superstar joined the charismatic co-vocalists for the future hit “Any Which Way” in yet another Glastonbury moment for the ages.

Muse
Pyramid Stage, 10:15 pm

In 2004, Muse proved themselves as the latest band worthy of headlining the biggest festivals with a performance of epic proportions. Six years later, Muse has only become even more popular, with sold out stadium shows and a massive American breakthrough along the way.  Despite having nothing left to prove, Muse played with the sort of intensity that indicates otherwise. With five studio albums under their belt, Muse focused the most on last year’s The Resistance and 2001’s Origin of Symmetry, the band’s finest album to date.

The question over whether a blistering performance of “Citizen Erased” or mega-hit “Time Is Running Out”, with a singalong intro of “House of the Rising Sun” would be the highlight of the evening received an unexpected answer when U2’s The Edge appeared on-stage after an encore break to perform “Where the Streets Have No Name”, with Matt Bellamy sounding more like Bono than anyone could have predicted. While this Glastonbury moment will be remembered as one of the most legendary since the festival’s inception, it was also a bittersweet reminder of what might have been. Considering the frenzied response to the cover and the general love for anthems, one can only imagine how well U2’s version would have gone over at Glastonbury, along with all their other classics. Although the previous towers of light and the still-unseen UFO could not be part of the show, a striking light show spectacle still made it into their set. With anthemic hits, pretty lights, reliable singalongs, electrifying guitar solos, and a once-in-a-lifetime guest appearance, Muse gave Glastonbury the headlining set they desired. Or as Michael Eavis would later say, “we finally got a headliner, and what a headliner that was!”

Jarvis Cocker (DJ set)
Rabbit Hole, 12:00 am

How many festivals can boast a DJ set from Jarvis Cocker in a tiny tent themed around Alice in Wonderland that features “secret” tunnels to other themed areas?  Actually, how many festivals would even have such a tent?  Combining the unpredictable with the whimsical, it is secret sets such as this that epitomize Glastonbury.  The former Pulp-frontman dropped an eclectic and engaging mix songs ranging from The White Stripes’ “Blue Orchid” and “Tequila by The Champs to The Cramps’ “You Got Good Taste” that proved pleasing to the crowd of a hundred curious and star-struck onlookers that filled the tent beyond capacity.

Sunday, June 27th

Grizzly Bear
Other Stage, 4:00 pm

Grizzly Bear seemed in good spirits and expressed gratitude for the considerable crowd that chose one of Brooklyn’s best over the England versus Germany match.  The band sounded spot-on as usual and the set drew heavily from 2009’s Veckatimest, with “Two Weeks” proving to be the biggest crowd pleaser. After Chris Taylor brought out his radio, which revealed that England lost to Germany 4-1, Grizzly Bear went back to elevating the spirits of the crowd with their irresistible harmonies.

Beak>
The Park, 5:10 pm

A sparse crowd made the trek to The Park for Beak>, the current project of Portishead’s Geoff Barrow, but the band did not seem to mind.  In response to the applause at the beginning of their set, Barrow reminded the few but faithful that they did not know whether or not they liked the “angry” music of Beak>. Joined by Matt Williams of Team Brick on guitar and keyboards and bassist Fuzz Against Junk’s Billy Fuller, Barrow took the drums and played a set of heavily inspired by Krautrock. Although absorbing at times, Beak> was missing the kind of spark that makes even the avant-garde compelling.

MGMT
Other Stage, 7:00 pm

On Congratulations, MGMT admirably eschewed the obvious hit singles of their enormously popular Oracular Spectacular in favor of a more psychedelic sound. If their Glastonbury performance is any indication, hearing the new songs live will fail to convert anyone that dismissed the album as a sophomore slump. Opening with “It’s Working”, MGMT sounded lifeless and devoid of energy, a trend that continued throughout the set for older material as well as new. Numerous fans seemed perfectly content with hearing the old gems, even if they sounded just like what they do on the radio, only not as good. MGMT’s set did not show any true sign of intensity until the end of “The Handshake”, and kept the momentum going for a compelling rendition of “Kids”, which featured friends of the band dancing onstage.

LCD Soundsystem
Other Stage, 8:30 pm

In stark contrast to the earlier set from MGMT, every song at LCD Soundsystem’s set was a force of nature. With its throbbing disco beat and bassline, set opener “Us Vs Them” established James Murphy and company as the dance party of Glastonbury 2010. Before going into life-affirming crowd favorite “All My Friends”, Murphy informed the crowd of their collective odor and the dubious sanitary conditions of Glastonbury by singing “It smells like human poo.” Rather than calming down the crowd by closing the set with “New York I Love You”, Murphy instead ended things on an awkward downer note by exclaiming “I can’t have babies!” at the end of “Yeah”.

Stevie Wonder
Pyramid Stage, 9:45 pm

After the last-minute cancellation of U2, the biggest star was unquestionably Stevie Wonder. Fifteen minutes before the legend took the stage for the closing set of Glastonbury, the Pyramid Arena was completely packed with overflow crowd extending well into neighboring campgrounds Row and Kidney mead and food vendors at the main entrances reaped the benefits of thousands of people unable to watch from anywhere but in front of their stands, which made it that much easier to actually eat that overdue dinner. Wonder has an astoundingly rich discography consisting of a seemingly endless supply of hits, and the depth of their impact and influence on all genres of music continues to reveal itself greater with each passing year, so the question is why did it take so long for him to play Glastonbury?

Motown’s brightest star offered something for everyone in attendance. Obviously a festival crowd needs the hits, and with the likes of “Superstition and the now guilt-free pleasure “I Just Called to Say I Love You, Stevie Wonder delivered them from all eras. He even went back to the days of “Little Stevie Wonder” by distorting his voice enough to give it a child-like quality for “Fingertips”, his first hit. Other highlights include a tribute to Michael Jackson where Wonder performed a harmonica cover of “Human Nature” and “Happy Birthday”, which included both a duet with Michael Eavis and Wonder presenting him with a harmonica as a gift.

The Dead Weather will release its sophomore LP, Sea of Cowards, on May 11th. Get ready to hear the first single, “Die By The Drop”, tomorrow.

As previously reported, Radiohead’s Jonny Greenwood recently completed his latest orchestral project, “Doghouse”. Per TwentyFourBit, the BBC is currently streaming Greenwood’s recent debut performance of  the number, as well as an accompanying interview. This is a one week only type of thing, however, so you better hurry.

It turns out the album that Beck, St. Vincent, Liars, and Os Mutantes will be covering as part of the latest edition of Mr. Hansen’s “Record Club” will be none other than INXS’ 1987 classic, Kick. Yeah, go figure.

Speaking of St. Vincent, last Monday, David Byrne revealed that he has been working with the musician born Annie Clark on a project similar to The Dirty Projectors and Björk’s recent extravaganza at New York City’s Housing Works. Details remain sketchy, but Byrne notes eight songs have already been written.

Outkast’s Big Boi has signed with Def Jam recorded for the release of his forthcoming solo album, Sir Luscious Left Foot, which is expected to finally be released this May. Or so they say.

Per a recent interview with Kerrang magazine (via AA), Green Day’s Billie Joe Armstrong revealed that the band is already working on a followup to 2009′s 21st Century Breakdown.

Though MGMT has moved onto much different things these days, Sigur Rós’ Jónsi is still a fan of the band’s 2008 hit “Time To Pretend”. So much so in fact that he recently covered the number at BBC Radio 1. Stream the end result here.

Another high-profile cover comes in the form of The Dirty Projectors’ recent rendition of Bob Dylan’s 1985 song “Dark Eyes”. Stereogum has the mp3 for your listening pleasure.

The Black Keys have offered the first taste off their forthcoming studio album, Brothers, this in the form of the Danger Mouse-produced first single, “Tighten Up”.

What better way to celebrate an album’s 10th anniversary than by reissuing it on the wonderful event that is Record Store Day. Modest Mouse thought so too, and will do just that when they re-live 2000′s The Moon & Antarctica on April 17th.

The music industry made $18 in 2009. In other news, Universal Records is lowering CD prices.

Finally, The Replacements’ Paul Westerberg took to the New York Times on Sunday to offer an op-ed on the death of Big Star’s Alex Chilton, while surviving Big Star members Jody Stephens, Jon Auer, and Ken Stringfellow paid tribute to their former band by taking the stage at South by Southwest with a guest list that included R.E.M.’s Mike Mogis, M. Ward, Chuck Prophet, Sondre Lerche, and X’s John Doe. (Alright, so at least one thing relates to SXSW, but can you blame us?)

On the festival front, Arcade Fire is reportedly playing two upcoming Canadian Music Festivals — Osheaga and Quebec City Summer Festival. Gathering of the Vibes unveiled its initial lineup for 2010, Summerfest announced Modest Mouse, The Roots, O.A.R., and more, and Summer Camp made a slew of additions. Finally, more names are rumored for Glastonbury.

Last month, Greenwood, who is also the composer-in-residence with the BBC Concert Orchestra, debuted his newest creation, “Doghouse”, at the BBC’s Maida Vale Studios. In an 20-minute interview after the performance, attendee Adam Bowie noted that as Greenwood’s “Popcorn Superhet Receiver” was the genesis for the score to There Will Be Blood, “Doghouse” will also be the basis for the soundtrack to the adaption of the Haruki Murakami novel Norwegian Wood. The novel focuses on the character Toru Watanabe as he reminisces over two relationships with two women. Despite the intimate nature, Greenwood says the initial score came about in places all over the world, often during late nights in less than romantic settings.

“I wrote this piece mostly in hotels and dressing rooms while touring with Radiohead,” Greenwood said regarding the composition. “This was more practical than glamorous – lots of time sitting around indoors, lots of instruments about – and aside from picking up a few geographical working titles, I can’t think that it had any effect where, on tour, it was written.”

If you’ve gotten yourself all worked up, you can hear the debuit of “Doghouse” and a preview Greenwood’s next film on March 19th when BBC Radio 3 plays both at 2 p.m. GMT.

According to Rolling Stone, the Roxy Music frontman has teamed up with the aforementioned cast of characters for the followup to 2007′s Dylanesque, due for release in summer 2010. So far, details stop there, but a two minute video from the studio has been posted on his official website. Included are a bunch of clips from recent recording sessions, soundtracked by the Ferry’s 1985 song “Boys and Girls”.

So, stay tuned.