Pitchfork does a good job of following up on the second version, which may be the more accurate of the two:
But now we're in Tool territory instead of Radiohead territory https://genius.com/Tool-hooker-with-a-penis-lyrics
They literally made an album describing in detail how technology was bad for humans and now they are beholden to the same technology they once critiqued.
... I guess I need an Instagram account.
It happens all the time as bands age. The inner turmoil makes for great art, but it isn't sustainable.
It doesn't make the art any less real.
I never ended up actually listening to it.
I wonder how many other people did the same.
Band I don't listen to releasing music I don't listen to in a way I prefer might be a step in the direction towards band-I-listen-to releasing music in a way I prefer.
Basic psychology. Works on pigeons and what not, as proven by B.F. Skinner.
But I am unconvinced when it comes to the content industry, I'm not sure we can repeat the success from the pigeons on them ;-)
Is there some reason not to buy into that?
I don't think they would say this if a hacker was holding it back for ransom.
So the hacker tried to sell it for $150000 but now everyone can buy it for $18.
2. Someone at that 3rd party copied and leaked the data.
3. One of the recipients (or the leaker) posed as Hoserama and tried to extort/sell/release them for $$$.
4. The band chose to release them for $, undercutting the fake.
Or someone broke into the 3rd party infrastructure and made out with the data. Music-related businesses are not exactly renowned for their cybersecurity standards. We'll probably never know.
I agree it seems a silly target, people doing the right thing, but I think their point was we cannot continue business as usual and just hope for the best.
If a demonstration is actively blocking people from commuting then it's just harming innocent civilians and only hurting the cause. There are better ways to create change then causing chaos in the lives of people who can't do anything about it.
The thing about this day and age, is that it is generally different than it was yesterday.
The Extinction Rebellion protests have so far been some of the most successful in recent memory, they had politicians scrambling to be the first to declare a 'climate emergency'. Whether the talk converts to any action is another thing, but they have been very successful in raising the political visibility of the issue.
If I see a fire in the house I am in, it might be in the grate, or it might be on the sofa. If I declare some sort of 'fire emergency', it can help to point out to other humans which of the two situations I think I am encountering and how they might therefore choose to react.
I hope this helps.
For example, Trump declared immigration a national emergency in an attempt to use funds to build the wall that he would not have otherwise been able to do so. See the second paragraph of https://en.m.wikipedia.org/wiki/National_Emergency_Concernin...
Now, while there is no protest without any use of force (whether force of gravity by peacefully taking over an area, requiring force to be removed, or "force of language"), we generally categorise protest as peaceful if force is only used in defiance (you have to use the force to remove me).
Peaceful protest does not equate to inconvenient to everybody (actually, they are usually designed to be inconvenient to get their message across). Civilians are not "innocent" in the sense that they have elected the government a protest is aimed at. How much sympathy protesters will get is a topic of discussion for themselves, and I am sure they carefully weigh that before staging a protest.
If you can't distance your inconvenience from whether the protest has merits, you probably don't intrinsically trust the democratic process ("I know better what they need").
Seems like "raising awareness" is a convenient blanket excuse for people to do whatever the fuck they want, and blame everyone else if the actions breed resentment that's counterproductive to the original goal.
I've also already mentioned it should be a calculated risk on protesters' side: aim to win more people than you lose those who can't empathise with protesters.
I am not saying that all protests succeed, or that I agree with all of their goals, but I stand by their right to inconvenience me in order to get heard (and yes, there were cases were my personal circumstances would have made me furious at that moment, but that would not affect my general opinion of the approach).
Regarding what it actually accomplishes, here is an older rundown (from April) of their main requests and the results so far.
Not to mention, people only agree when they're not the ones in the commute.
Here's an article on it:
Some predictions are even more extreme:
It's probably not the most likely outcome, but it's also definitely not "fear mongering bs", it's part of what science is discussing as possibilities.
I.e. about the "extra 20ft of risen sea"
The recent studies I've explored predict around 50-130cm by 2100. However, I have seen discussions of ~20ft by 2200 and 26ft by 2300 (https://www.theatlantic.com/science/archive/2019/01/sea-leve...), alongside more alarming figures (https://www.annualreviews.org/doi/10.1146/annurev-environ-10...).
You might be interested to read The Myth of the 1970s Global Cooling Scientific Consensus: http://nora.nerc.ac.uk/id/eprint/11584/1/2008bams2370%252E1....
Excerpt: "There was no scientific consensus in the 1970s that the Earth was headed into an imminent ice age. Indeed, the possibility of anthropogenic warming dominated the peer-reviewed literature even then."
The (very good) version of 'Lift' that most articles are mentioning is on https://radiohead.bandcamp.com/track/md125 and starts at 10:13.
It was my favorite song from the band throughout my adolescence, and the only way to hear it was through a live bootleg or otherwise. So I thought that this version of it was just forgotten. Glad to see it is still alive (and makes me feel like I'm 15 again.)
"Hackers"-way: never listen music online!
$ youtube-dl -F https://radiohead.bandcamp.com/track/md125
One example of a label I would have never known about is Daptone Records, from NYC. The Budos Band, Sharon Jones, the Frightnrs and many more great artists have produced really great albums with this label. Sharon died in 2016 but will live on through her work as an artist and through the label she made as long as platforms such as BandCamp support it.
Amazing woman, I was lucky enough to meet her a few years ago. Charles Bradley is gone too, they both made some awesome music up to the very end. I didnt know they were on bandcamp, thanks for that.
How Radiohead Writes A Chord Progression: https://www.youtube.com/watch?v=alt9sQepob4
Radiohead and the Rhythmic Illusion
How Radiohead use Modes
How Radiohead use Time Signatures
Tapes weren't exactly lossless either and pretty lo-fi. With the MiniDisk at least you reached the 44100hz sampling rate which is adequate to store the crispness of most tracks.
Anything above 44100hz is just headroom for mixing.
And listening to stuff at 96khz or anything like that is the audiophile version of buying gold plated hdmi cables.
No it's not, you're confusing it with how many bits are used.
Once you are above the Nyquist frequency you can perfectly represent the sample. Any more frequency does absolutely nothing.
But the number of bits of resolution that's what actually determines how perfectly the digital wave form matches the original.
Wikipedia claims that more than 21 bits is pointless for actual playback since there are no circuits that can be that accurate (quiet).
But more bit depth can help with mixing headroom - but you don't need a lot. "24 bits is enough for anyone." © :)
Internally, audio apps typically represent signals as sequences of 32bit floats between -1 and +1.
While you're absolutely right that listening to stuff at 96khz is pointless, it's worth noting that these high sampling frequencies are useful for other audio applications that are not on the consumer side (like recording, mixing, instruments sampling, and more).
Just like I had to get their first album they sold online for pay-as-much-you-want to show music labels the finger (even though I am not a huge fan of their music, I am a huge fan of showing the finger to conglomerates that seem to forget their founding roles).
Sure, that was a move out of privilege too, but not many in that position have done it anyway, so kudos to them.
You’re the target listener in that case. I felt guilty at the time, too. Now that I’m older I understand.
Don’t feel bad. It was intentional.
It's pure profit, what is nice to see is that they are giving the profit to charity. Now that's really not something everyone would do.
As a huge radiohead fan, the interesting thing about this dump is that the version of Lift (disk 15 starting at 9:30, but can also be found in other places in the dump) is totally mastered and ready to go on the album.
Fans heard this live a long time ago, but when they released the first recorded version on Lift the b-sides of the Ok Computer 2017, it sounds much slower.
The band stated that they recorded and mastered Lift in 1997, but they knew it would be a huge hit single and they didnt want that for OK computer so they scrapped the whole thing. No one understood this until now.
Other highlights discovered in the dump:
- Karma Police with different lyrics
- Longer version of paranoid android
- Exit Music and True Love Waits used to be the SAME song
whispering over the phone "John....I've got the tapes...I've got the tapes, but there are helicopters flying around my house"
It took them a while to get them back from the guy.
I won't lie, I'd be quite interested to hear it.
The quality was very good, (Could not tell the difference from the CD, Sony optimized compression for quality, thinking people cared about it..then 128kbps mp3s showed up). And discs always beat tapes for convenience...
The CD-R was already there, but more importantly Internet formats had happened. The advent of the internet made people switch to the MP3 as the primary medium for popular music consumption, because it was easy to move on a still-pretty-slow network.
At that point the market went about finding the fastest way to deliver MP3s "from modem to ears". Minidiscs were better than CD-Rs in that regard (they were R/W, compact, and didn't skip; whereas RW formats for CDs were bad, fragile, expensive, and prone to failure), but still nowhere as good as an actual hard drive in your pocket (an mp3 player) with its high transfer speeds and ever-increasing capacity.
In the timeline without the internet, people probably don't care for MP3s and have gone for "something like the CD but smaller and RW", i.e. the minidisc.
After those 18 days the music will probably be available through other means anyway..
The total MP3 is 1.8gbs. The selling price is £18. It’s on sale for 18 days.
To me it seems clear that they just took the 18 number, decided to own it, and went from there on in everything else.
You don’t have to be a cynic, this is Radiohead - they literally gave away what could have been their biggest-ever album, and don’t really need any publicity to sell out venues.
Why fake a charity? That’s not how Radiohead does things.
No band makeshifts substantial money from album sales anymore anyway. It’s about concert sales.
Guess who has a tour starting in three weeks?
 Screenshot of available formats on Bandcamp: https://i.imgur.com/5Ra1VmS.png
While the archive has some gems and recordings that many in the Radiohead fan community have heard whisper of but certainly never thought they would hear - it also contains some very rough recordings, some poor playing and singing and some pieces that I’m sure the band find embarrassing and would never choose to release themselves unless forced into a corner like this.
It’s not an album in any sense. These are 18 hours of demos and unfinished takes.
Obviously in this case it's extremely unlikely.
> Unsurprisingly, Nicholas has a theory about this as well. “The situation that makes the most sense to me is that these minidiscs were digitized by a third party so the band could choose material from them for the OKNOTOK box set, and that someone involved at the third party stole the files and traded them,”
Everyone has backups, and some of these minidiscs were probably used in the 20th anniversary OK Computer re-master and re-release (OKNOTOK).
"last week stole lead vocalist Thom Yorke’s minidisk archive"
He stole the minidisks.
Also, surely they love being strewn across the news over this. Good publicity!
So instead of them paying the hacker 150k, they'll make a few million. Brilliant.
See here: https://docs.google.com/document/d/1kA8u6UhjbutZ-b7TXzmX4qkO...