2018

Advice from Neil Finn and Johnny Marr, and his wife's wish that he stay, kept O'Brien in the band while his children were small.

The writers of “The Air That I Breathe” already share the credit for “Creep”, and the publisher wants them named on Del Rey's song too.

The score has brought Greenwood his first major award nomination for any of his film scores, at the Golden Globes, with the Oscar nominations still to come.

The film, a dance and parkour piece, was shot in a single day by three directors.

Selway's list starts with Ennio Morricone's score for The Good, the Bad and the Ugly.

The remark comes in a long talk about his Oscar-nominated Phantom Thread score and the three composers he keeps going back to.

Greenwood's first Oscar nomination ended the way his whole award season had, with the prize going to the same rival score.

Greenwood's second score for Lynne Ramsay, after We Need to Talk About Kevin, can be heard four weeks before her film reaches American cinemas.

Answering readers' questions after the Oscars, Greenwood also picks the guitar parts he is proudest of and tells how an hour of fiddling became “Idioteque”.

Two months after she took the row public, the song Radiohead's publisher said borrowed from “Creep” was in her encore.

Fifteen years after Parlophone first put it out, the score comes back.

The two share friends, and Greenwood came in when a couple of the Antwerp singer's songs turned out to have no bass part.

The whole piece, new music with Yorke singing inside a virtual world Barri has been building, is shown in Berlin on Saturday.

In its twentieth-anniversary reissue, OK Computer has sold more copies through Britain's independent record shops over the past year than any other album.

Greenwood's film music had the last word at the orchestra's informal concerts on the Wellington waterfront.

The film turns a Victorian vampire story into a coming-of-age romance.

Radiohead's support act this summer is Greenwood's other band, and on a night off between Chicago and New York it reached American network television.

On the same Brooklyn stage, Jonny Greenwood owns up that he wrote his part in “Paranoid Android” without knowing which notes he was playing.

The band go back to Toronto this week, still waiting for someone to take responsibility for Scott Johnson's death.

On a good night, O'Brien says, he can slow his pulse until a bar of music splits into 64 parts, the extra time great batsmen seem to have.

Two trailers have already run on Yorke's music for Luca Guadagnino's Suspiria; this time the music came from Yorke himself, a day before the film is first shown.

Yorke nearly ran from his first film score, he says, and borrowed only one thing from Goblin's music for Argento's original.

Yorke's score is a double album of 25 pieces, out on 26 October, and XL is playing it to fans in nine cities before then.

The pieces Thom Yorke has written for rag & bone's catwalk shows have been run together into the soundtrack of a short film.

Of the nights Yorke has stood in for Patti Smith with R.E.M., the one in a London church in 2004 is now on a record.

Talking up his Suspiria soundtrack on BBC Radio 6 Music, Yorke also says this week's Conservative conference has frightened him, and asks why people are not out in the streets over Brexit.

The band share the class of 2019 ballot with the Cure, Kraftwerk, Roxy Music and Janet Jackson.

In the same Venice round table, Yorke says Jonny Greenwood's advice for his first film score was to write from the screenplay, not to the picture.

Yorke says more than a year of work on Suspiria, his first full film score, turned up an album he had not set out to make.

Days before the Suspiria score comes out, Yorke has given an account of the solo album he means to follow it with.

After “Suspirium” in September, a track a week through October has given fans five pieces of the score before the album.

Oxford's last independent music venue needs £80,000 by 3 December to widen a fire escape that has cut its crowds to 60, or it shuts.

Two days after the soundtrack came out, BBC Radio 6 Music gave Yorke's first film score a session, an interview and an hour of his favourite records.

Yorke's first film score has had a warm welcome from the critics, and the song they keep picking out is “Unmade”.

Yorke wrote much of his first film score from the script alone, and the film's dance only gave way when he stopped trying to follow it.

Stations across America are set to air the 34-minute session and its interview over the following days.

Passed over in their first year of eligibility, the band are in at their second nomination, one of seven acts chosen from a ballot of 15.

A piano waltz from Yorke's first film score is one of the last 15 songs in the running for five Oscar nominations.

Both of Yorke's nights at the Orpheum turned into a near-reunion of Atoms for Peace, with two of the band walking on in the first encore.