With Dollars And Cents on the album, we had it as a band jam and I sometimes spend evenings playing with records over the top of things we were working on to see what works.
The trick with computers I think, is to approach old and new things with the same reverence as you would like your favourite chair and not be seduced by the constant innovation otherwise you never do anything.
Phil is a real drummer's drummer.
When we rehearse, we're always trying to aim for something else. But we never quite succeed in getting there.
Coltrane would do what you'd get a Roland Pro Tools module to do but with a group of jazz musicians.
Motion Picture Soundtrack on Kid A was another Coltrane inspiration.
If you're working on a computer and you're editing bass, it looks like a warm curvy, sort of feminine object.
I've seen the Mass For The End Of Time in concert but my brother's the more musical one really.
I trained as a classical guitarist but that was it.
I'm going to have classical piano lessons next.
We stuck the record head so it kept on recording over and over on top of itself and played keyboard notes into it to create this ghost repetition melody.
One of the books we read a few years ago that had a big effect on us was Repeated Takes by Michael Chanan.
I don't listen to much modern composition.
Bill Withers and Curtis Mayfield, those are the people who informed me in playing the bass.
In OK Computer, the guitar was already moving towards a tone generator as well as a riff generator.
In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
Limits are very important.
I don't think anything's underground anymore. And I think that's a good thing. Everything is up for grabs.
Warp was important to Thom about two years ago when he was looking for different sounds.
You should approach technological things in a nostalgic way.
