2021

Yorke's tweet came with the remix of DOOM he made in 2009.

After nearly a year of postponements, the American shows still waiting for new dates will not be played.

The half-hour set runs from Moor Mother to Q-Tip, with old London pirate radio adverts dropped in between the records.

Customs papers and trucking limits now threaten the careers of the crews, firms and young players who make a European tour possible, he writes.

The man who lent Radiohead their PA for the sessions was told he could keep anything they left behind, and the pad was what he kept.

For now the only place to hear Yorke's new “Creep” is the film of a fashion show, about seven and a half minutes in.

The band's account went up on April Fools' Day, which left the music press wondering whether it was a joke.

The remix previews McCartney III Imagined, out on 16 April, on which Damon Albarn, Phoebe Bridgers, St. Vincent and others remake the songs of McCartney's lockdown record.

With Radiohead on a pause since A Moon Shaped Pool, two of its members turn up with a new band and eight songs nobody had heard.

The finished piece, planned at 30 to 40 minutes, is due at Cannes in 2022 before it comes to Oculus Quest 2 headsets.

The minister says musicians' EU touring is for the culture department to take forward, though in March the prime minister said Frost himself was in charge of it.

The Commons inquiry Ed O'Brien gave evidence to last November has found that artists are not paid fairly for streaming, and he wants that written into law.

Thom Yorke and Jonny Greenwood's new band played their first eight songs only two months ago, on Glastonbury's Worthy Farm stream.

The film reaches Venice in September and New York on 1 October, before Netflix releases it in the autumn.

From the Basement, his studio series, is streaming again a week after its return, and he means to film the first new episodes in more than a decade.

Fans have heard it before, in a reworked form, when Yorke played it on a Radio 1 show in 2016.

In the same interview he explains how his score for Spencer turns a baroque royal orchestra into a free jazz band while it plays.

Two records made in one set of sessions and released eight months apart, in 2000 and 2001, come out together in November.

Kasper Häggström's film for a song kept in the vaults for 20 years plays a round-up of suited commuters completely straight.

All nine studio albums are there to stream and buy, with KID A MNESIA on pre-order two weeks before it comes out.

The two albums are taken as read; what the critics argue over is whether the set gives fans who already own them anything new.

In the conversation that runs through the book, the two go back to the block that followed OK Computer, and to how drawing, then painting outdoors, loosened Yorke up.

The baroque music of royal ceremony meets free jazz in Greenwood's score for Pablo Larraín's film about Diana.

Greenwood wanted Jane Campion's Western to sound like the 1920s it is set in, with French horns in an Oxford church and a cello fingerpicked like a banjo.

The new piece is Greenwood's third release in a month.

Two of the three songs were not in the set the band played for Glastonbury's stream in May.

Only Hans Zimmer matches him with two of the 15 scores still in the running for a nomination.