Jonny Greenwood
Musician United Kingdom 1971–present
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When I saw the Penderecki concert in London, in '92 or '93, I thought there were speakers in the room. It was just strings. But I could hear these kind of buzzings and rumblings, and I was like, 'Where is this all coming from?' And that was just better, to my ears. Odder, stranger, more magical.
It's kind of not about the quality of the art, as much as this is what I love doing and I'd have a worse time doing anything else. That's kind of as far as I think in terms of philosophy.
I don't mind when people are telling me about their 1971 Firebird, but it's the same thing as people telling me about their car or something. It's fine if you have an interest. By talking with me, though, you could be interviewing a novelist about guitars. It's the same thing, except I don't write that well either.
I worry about being a fogy and just writing for orchestras. Like, really, I should be doing more electronic stuff, I feel. Laptops as part of the orchestra, and installation sound, and speakers.
It's no longer unusual for real avant-garde composers to have been in a band, and for bands to be interested in a wide range of music. Look at how artists like Aphex Twin are influenced by Nancarrow and Stockhausen.
It feels like Radiohead are famous, but that no one knows who we are. Which is brilliant, really.
But I was in the Radiohead studio today and Phil was there drumming and Thom was there playing. We feel like we've only just stopped and already people are wanting us to carry on.
I remember when I was in my late teens just getting rid of lots of records, realizing I only ever listened to them when I was reading, or watching TV, or doing something else.
Nothing's more exciting than a day in a studio with a string section - or more ruinously expensive. So it's good to feed that habit away from the band, especially if it means more experience for the next Radiohead string day.