Radiohead's press office issues a new biography and discography
The band's British publicists set down their official version of Radiohead's story, from the Drill EP to the single due later this month.
News archive
Radiohead in 1996, written up from the press of the day.
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The band's British publicists set down their official version of Radiohead's story, from the Drill EP to the single due later this month.
A long career feature in the rock magazine hands its sidebars to the people who made the band's pictures, from the album cover to four promo videos.
The closing track of The Bends comes with a Jonathan Glazer video shot overnight on a camera made for slow-motion science.
The Bends, the “Just” video and the band themselves all come away with nothing, and Blur fare no better.
The fan magazine Radiohead World Service gives its January to March 1996 issue to a long talk with O'Brien and a running quarrel with Radio 1.
With the music business away in Austin, a Los Angeles club full of ordinary fans gets an early hearing of songs meant for the next album.
Ahead of Radiohead's return to Portland, Colin tells a local weekly how The Bends was made, and what the band play at soundcheck.
Between Radiohead's shows in Calgary and Vancouver, Yorke plays a solo radio set, with a B-side and a Pablo Honey song among the four.
The band usually reach Canada worn out at the end of a tour, so this time they began there, in rooms far smaller than R.E.M.'s arenas.
Six months after their equipment was stolen in the city, the band return to the Ogden Theatre to an audience that knows more than one song.
Los Angeles has heard three songs meant for Radiohead's next album, and their singer seems to care more for them than for his hit.
A critic who wanted the three guitars turned down all night found the best of the show in a song nobody can buy yet.
Jonny Greenwood, interviewed before the show by a student paper, says he plays as if to one imaginary listener and never for the crowd.
Alone with an acoustic guitar on the Maryland station, Yorke tries out a song he would like to see on Radiohead's next album.
Neil Strauss of the New York Times finds a band who have left their one hit behind them.
Radiohead's second album, slow to catch on in the United States, has made its highest chart place yet and gone gold in the same month.
All five members write in the spring newsletter, with the summer's dates and news of a studio going up near home.
Straight from Paris, the band play the last day of a wet Dutch festival that went out live on national television.
The paper's verdict is that the unreleased songs were the best of the night, with “Lift” at the top of the pile.
The last time they played Dublin they were one more British band with a hit; this time the Irish Times heard songs strong enough to need no star.
The Galway Arts Festival's last big show ran from lunchtime to Radiohead's closing set, through a thunderstorm and out the other side.
Supporting Alanis Morissette in America's summer amphitheatres, the band are giving a third of a short set to songs nobody can buy yet.
On the night they open for Alanis Morissette at Merriweather Post Pavilion, three of the band explain why The Bends is still finding listeners.
The letters in the band's twelfth newsletter come from the road in America, where new songs are being worked up for the studio.
The band gave a wet Scottish crowd three songs that are on no record yet.
A London magazine party got an early hearing of new Radiohead songs, and much of it talked through them.
The soundtrack album out today carries a different Radiohead song, not the one they wrote for the film.
The magazine's Radiohead special comes with a price guide, and the most it gives for any record is £30, for the earliest tapes and the Drill CD.
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