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Nigel Timothy Godrich: il sesto Radiohead


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8 minutes ago, The_Tourist said:

Contratti già stipulati, ricerca di nuovi stimoli? Non saprei. Può anche essere che fosse tutto già stabilito in partenza, più di così noi non sappiamo, o se invece c'è qualcuno che sa qualcosa di più parli pure che lo ascolto.

Ci sta, però Nigel e Thom sono sempre stati culo-e-camicia... Troppo strano... a maggior ragione per il fatto che a differenza dei Radiohead, negli Smile Godrich figurava come autore dei pezzi al pari di Yorke-Greenwood-Skinner.

Come ho scritto un'altra volta: per me Thom senza Nigel è come Thom senza Stanley o Thom senza Jonny. Si sente che in Bending Hectic manca qualcosa e se il buon giorno si vede dal mattino, il disco nuovo degli Smile sarà per me deludente. 

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Cosa è accaduto nel 1996 che ha permesso a Thom & Co. di trasformare questa robetta...

...in Exit Music (For A film)?

Nel 1996 è arrivato Nigel Godrich al timone della produzione.

Non mi do altra spiegazione.

- - -

P.S. credo sentiremo la mancanza di Nigello in WOE :bye: 

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On 12/6/2023 at 12:56 PM, modifiedbear said:

Per me è molto più che fresco, questo brano è da solo il Monte Olimpo della nostra epoca.

Fuori parametro, da ignorante e a gusto mio.

Pensare a come suonava nel 2000 la roba del 1980, rispetto a come suona questo ora...

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58 minutes ago, Sig.Bakke said:

Pensare a come suonava nel 2000 la roba del 1980, rispetto a come suona questo ora...

Tema cruciale su cui si potrebbero scrivere libri. Il passaggio, in musica, dalla modernità (la autobahn che punta dritta al futuro verso cui tutti tendono a confluire) alla post-modernità (una libreria di musiche da tutte le latitudini e epoche alla quale poter attingere senza nessun senso unico predefinito) ha, da una parte, infranto definitivamente le barriere tra generi e stilemi e, dall'altra, rallentato notevolmente i tempi di evoluzione della musica. Come notavi giustamente tu, basta pensare alla differenza media tra un pezzo pop qualsiasi di inizio anni '60 e uno di inizio anni '80 rispetto alla differenza che intercorre mediamente tra un pezzo dei primi anni del 2000 e uno di oggi.

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Da Rolling Stone

 

To make TANGK, IDLES guitarist and producer Mark Bowen worked once again with rap producer Kenny Beats while also drafting in Radiohead’s sixth member Nigel Godrich. The band first met Godrich when they were invited to play his relaunch of the legendary From the Basement series. “That was a very nerve-wracking time for us because I’d watched it religiously,” Talbot says. “The way he made us sound, it felt like he really understood us musically, and we were quite surprised by that.” 

After sessions at Godrich’s studio in Brixton, the band, Godrich and Beats decamped to the south of France to mould the new album. “What I wanted from this album from the outset was for us to get more advantageous and experimental,” Bowen tells me from his home in Belfast when I call him the day after meeting Talbot in Bristol. “Nigel told us about tape loops and showed us a lot about different approaches to writing. IDLES has always been a sonic cacophony, but we wanted to explore that violence in ways that isn’t just using feedback and noise. What a good producer does is make the band feel confident in pursuing those things and feel confident in making mistakes. Nigel is just great at that.” 

While the trio of producers buried their heads in their equipment, Talbot had only written one full song of lyrics for the album  the soft and beautiful ‘Grace’  and left the rest to spill out of him off the cuff when he entered the booth. TANGK is an album about instinctive and undeniable love  something that can’t be quantified or forensically examined  so he wanted his words to feel the same. When the lyrics came out, “they were perfect,” he says with a smile. “They were exactly what I wanted them to be, which is poetic and true. It was just a very vibrant time  everything felt lucid, vivid.” 

While IDLES emerged as a five-piece band with what seemed to be a traditional sound and approach, CRAWLER and TANGK have shone a light on the special and unusual creative partnership between Talbot and Bowen, two artists who are opposites in many ways. “CRAWLER sparked a lot of inspiration for more work between me and Bo, and what we’re capable of,” says Talbot. “We realised that we’re way, way more interested in our relationship as writers than we first thought. Bowen is very pragmatic and the opposite to me,” he explains. “He gives me good advice when we’re in a good place emotionally, but if we’re in a bad place, we just clash and have to leave each other alone. I want him one way quite aggressively, and he wants me another way, or he doesn’t want me at all. It’s a very push-and-pull affair, so we have to go away, regroup and come back.” 

Bowen laughs but agrees when presented with his sidekick’s feelings. “That is definitely where we really rub and clash; we’re the exact opposite person in almost every way,” he says. “The ethos of the band and how we present that is something that we are very much aligned on, but as far as our creativity [goes], it’s so different. I work best with chaos, but he needs order.” 

Viewed in terms of this creative partnership and musical experimentation, everything on TANGK comes back to its core tenet: love. “I just realised that writing about anything else would have been pretentious at the time,” says Talbot. “I didn’t have anything else I wanted to write about. I just wanted to focus on this. I was fixated on love, and I am fixated on love. All the other stuff is bullshit to me right now. I want to be connected to the people that I need to be connected to, and to heal. So why write about something else?” 

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