But when you're in a band, you want to be in the music instead of on top of. It just changes from the way you listen. Jonny Greenwood is one of my favorite deejays. I don't care what instrument it is, it's just about finding great melodic parts.

The Beta Band have revealed that Radiohead producer Nigel Godrich will work on their new album.

In a message posted on the band's website, singer Steve Mason explained that the band are happy with the results. He's (Godrich) working at Mayfair Studios in London. Me and Rich (Greentree, bass) went down at the weekend to see what he's doing to our LP and its all good!

Looks like 12 tracks will go on the record out of the 17 we recorded, he explained. Mixing will be done in two weeks and the LP will be out in February.

The making of the record, which started over a year ago, has been filmed for us by Pete Rankin who did the Old Jock Radio stuff for us, he said. He's now loading it all for editing. This will come out as a DVD sometime next year.

They're cute, they're young, most of them are related, and even though one of the girls in Eisley wrote the band's first song at the age of 8, their music is far from elementary.

They play dreamy, high-minded pop far more akin to Coldplay, Björk and Radiohead than Jessica Simpson or Britney Spears.

All of the DuPree kids really connected with their parents' record collection, but it was when then-14-year-old Chauntelle stumbled across Radiohead's OK Computer that they became truly inspired. The thing that stuck out to me was the guitar stuff, she said. They were just so off-the-wall. I hadn't heard anything like it before.

There's perhaps only one thing Boyd and Kim DuPree didn't prepare their children for — and that's a (seemingly inevitable) run-in with their ultimate musical heroes.

We always have these fun conversations about what we would say [if we met Radiohead>, Weston said.

We think about it a lot actually, Sheri said. We're pretty obsessed with Radiohead.

Surprise surprise! Kid A and Amnesiac were mainly Jonny Greenwood’s albums. Getting what and how much of a role Jonny plays in Radiohead (which is probably the primary reason anyone is listening to this album) out of the way, allow me to address Bodysong itself.

Being that it’s a soundtrack, at times it doesn’t play as well as one might hope, but that’s hardly a reasonable gripe. Made for a movie described as a dialogue free… collage of the experience of being human ... compiled from sourced images spanning the past 100 years, which brings immediately to mind the Philip Glass scored Koyaanisqatsi. Greenwood certainly follows Mr. Glass’ lead on a good deal of the songs.

The opener, Moon Trills sounds like Pyramid Song crossed exactly with something off of the Glass piece. But more interestingly, at times it sounds nothing like a soundtrack. Free jazz dominates Splitter and Milky Drops from Heaven, not exactly the easiest music to put out of mind. Indeed, they’re exquisitely well executed studies in melding jazz and electronics, just not what you’d expect. Convergence meanwhile is a raucous amalgam of percussion, which admittedly could complement high-paced visuals well.

Thanks for the comments. I love Radiohead too, the article was a loving parody.

1. The White Stripes - Hardest Button To Button
2. Radiohead - 2+2+5
3. The Strokes - 12:51
4. Razorlight - Rip It Up
5. The Cooper Temple Clause - Blind Pilots

Radiohead is the sort of dopily dissonant, synth-mashing, warbling, British crap that passes for cutting edge these days. Their Internet fans are legion, their pretentious and egotistically dull albums continue to sell, and the people who malign the good name of critics by calling themselves as much incessantly drool over Radiohead like they've got platinum bars shooting out of their jocks.

Sydney Entertainment Centre
Box office phonecharge: 136 100
Website: www.ticketmaster7.com

Rod Laver Arena, Melbourne & Olympic Parks
Box office phonecharge : 132 849
Website: www.ticketek.com

27/10 - france, germany, holland, denmark, turkey, switzerland, portugal
03/11 - spain
10/11 - italy, australia
27/11 - japan
01/12 - greece
05/12 - israel

Canada some time in November, USA early next year.

Q: You've worked with A-list producers, among them Steve Lillywhite and Nigel Godrich. Why did you decide to produce the new album by yourselves?

A: To be honest I was fed up playing second fiddle to Radiohead. We're like Nigel's part-time lover. He was so frazzled after Kid A, we were his therapists after those sessions. He's one of my best mates, but I'm so happy we did it this way. I think he missed us, though. I played some of it for him in the car when we were recording, and he turned around and said, Why weren't you writing like this when you were with me?

Psst! Heads up gang. If ur a Radiohead fan...watch whatUwant on Fri 24 October (starts 4pm AEST)...I can't tell you why...they'll give me the snip if I do...but if you love Radiohead then you don't want to miss this.

whatUwant
Friday 24 October
AUSTAR/OPTUS/FOXTEL CABLE:
NSW, QLD, VIC, ACT, TAS, SA, NT, WA - 4:00pm

AUSTAR/FOXTEL SATELLITE:
NSW, QLD, VIC, ACT, TAS - 4:00pm
SA, NT - 3:30pm
WA - 2:00pm

Radiohead, already notorious for reinventing its sound with each of its six albums, is preparing for yet another metamorphosis. Into what, even Radiohead doesn't know. But that's not the point.

Whatever comes next needs to be more conducive to moving on musically because that's kind of what we've always done, singer and frontman Thom Yorke explained during an interview backstage after a recent concert. We feel that after Hail To The Thief we want to definitely disappear into a black hole of the unknown rather than carrying on where we left off.

The critically acclaimed Hail To The Thief, a unique cacophony of rock-pop-electronica, has sold close to one million copies since its June release, including 300,000 the first week.

Radiohead blends guitars, bass and drums with computer technology, drum machines, vocal loops and just plain noise ranging from radio broadcasts to static to sleigh bells. Yorke's warbly tenor adds to the mix, and his geek-who-gets-the-girls looks - short and pale with prominent ears, a lazy eye and an impish smirk - make him the least likely rock star since Buddy Holly.

During the backstage interview with The Associated Press, Yorke wriggled with delight as he explained that the band has just fulfilled its contract with Parlophone, a division of EMI Records.

It's always been album, album, album, he says, adding that he believes the music business will be forced to change because the way people listen to music is changing.

Things like iTunes and people splitting up tracks, he says. I kind of think that's good. I listen to music on random all the time.

With the freedom to do anything, Yorke says he's unsure what the band will try next although it's unlikely to pound out another album. EPs are more likely.

Radiohead recently completed a more than two-month, 25-show run of North America, climaxing with a two-night residency at one of the world's finest concert venues, Madison Square Garden.

Playing more than 60 shows around the world this year, with more to come in Europe, the band continues to peg their newest album, Hail To The Thief, playing all but one track from the album over the two nights in New York City. Seven of the new songs were played both nights, including the radio-friendly singles There There and Go To Sleep.

The second night suitably harnessed more energy than the first. Frontman Thom Yorke easily aroused the sold-out arena with his crazed hopscotches in between the dementia of his lyrics in the 'Thief' song that introduced this unforgettable night, The Gloaming.

EMI Music Canada is one step closer to preventing listeners from hearing its recordings any sooner than intended through security technology from Musicrypt Inc.

Toronto-based Musicrypt’s Digital Media Distribution System (DMDS) currently allows partnered labels such as EMI to strictly mediate the process through which music recordings are disseminated — starting at the source, the studio level.

Through DMDS, a digital music file can be transmitted securely from the final mixing process at the studio straight through to the label and on down the chain — to radio stations, media, and so on — without a physical copy ever changing hands.

The primary goal is it’s an antipiracy move, said Rob Brooks, vice-president of marketing for EMI Music Canada. Though music leaks are a concern across the recording industry, EMI became one of the most notoriously affected labels after Radiohead’s Hail To The Thief was leaked more than three months in advance of its release earlier this year.

I’m not pointing any fingers at anyone, but if you look at all the whole process from the band themselves to their friends, the studio, radio, press, it’s leaked out of there at some point and we’re trying to stop it at any source, Brooks said. Leaks have been found at virtually every one of those points somewhere.

Now, each of the points EMI distributes to will have to enter individually tailored passwords into Musicrypt’s biometrically enhanced software before they get access to a new release.

We lock in an individual to their own password with biometric protection, much the same way as a retina scanner or a fingerprint or thumbprint reader would lock it to an individual, said Peter Diemer, vice-president sales and marketing for Musicrypt. We actually lock it to an individual with keystroke dynamic protection.

Musicrypt’s software allows radio stations to download full broadcast-quality audio from a Web interface. Playlists can also be generated for songs remaining on the Musicrypt server for auditioning purposes until a song is actually added to a station’s rotation.

Of course, once a song is downloaded, it’s still possible for a leak to occur. Musicrypt’s software watermarks each downloaded track, however, tagging the downloader’s ID to each piece of downloaded music.

Three Radiohead musicians give a thumbs-up at "winning" the opening slot over the experimental Icelandic rock group Sigur Rós, and their fans in the packed balconies cheer. Cunningham smiles benignly, enjoying, as usual, the order within potential chaos.

For Split Sides, Robert Heishman's black-and-white camera obscura projections and Catherine Yass's complex layering and blurring manipulation of color photography yield landscapes both familiar and unreal. The powerful scores by Radiohead and Sigur Rós (played live only on opening night) expand the "rock" label with distinctive, intricate collages of voices, instruments, and electronic sounds. Multiple speakers beam around the hall Radiohead's dense mix of voices talking, say, or Sigur Rós's bells.

Olivier Messiaen. Of the few things I have in common with Radiohead guitarist Jonny Greenwood, one would be a major thing for the late, great French visionary musician. Greenwood's score for Simon Pummell's Bodysong is hardly short on mood, but this piece betrays something of an infatuation for the composer's way with mysterious orchestral color and magic piano chords. If I didn't know better, I'd say this guy was trying to seduce me: the roar and slash of a jungle cat introduces trembling violins and the smug, divine ivory pulse. Greenwood's use of the Ondes Martenot (imagine a theremin crossed with a slide guitar) further links him to the old mystic, and in the process makes for a very nice, weightless melody. Sticklers will notice more than passing similarity between Moon Trills and Louange Á l'Éternité de Jésus from Messiaen's Quartet for the End of Time but I'm willing to let bygones be pretty bygones.

There's a parallel between Radiohead and the athletes who usually patrol the Skydome; their reputations are not based on the present, but on the past. Professional athletes like baseball players are awarded contracts based on past merits rather than on their current abilities. Similarly, Radiohead developed their popularity with the release of two critically acclaimed albums in the '90s — The Bends and OK Computer — before delving into a more experimental mode over the past three years. Though the partisan crowd was enthusiastic for any thing their heroes would perform, it was quite obvious that the large majority of the crowd would have been happier to hear more of the band's earlier work than the moody, atmospheric material from their latest release, Hail To The Thief. Still, 11 of the album's 14 songs were included in the concert.

Kid Koala opened the evening as the crowd slowly filed in by performing his usual stellar turntable wizardry to a small punctual and appreciative audience. Mixing material that was familiar to non-Koala fans such as The Beastie Boys "So What'cha Want," The Cure's "Close To You" and some of Bjork's vocal gymnastics, courtesy of with his own vinyl manipulations, Koala charmed a crowd familiar with his friendly musical personality. Along with these familiar mixed snippets, Koala performed some musical miracles while promoting his latest release, Some Of My Best Friends Are DJs. On one song in particular, Koala took a single trumpet note and by manipulating the turntable speed, proceeded to create a captivating trumpet solo backed by a strolling blues cadence.

1. Radiohead - 2+2=5
2. The Strokes - 12:51
3. Cooper Temple Clause - Blind Pilots
4. Razorlight - Rip It Up
5. The Distillers - Drain The Blood

Everything I rap about is really just an example of me talking about myself, he says. I mean, I could talk about this tape recorder, but I'd really just be talking about my perception of what it is. I've never been interested in the idea of someone being able to get anything they want out of a song. My sister, she thinks that you should be able to find your own meanings in songs. She likes Radiohead. I'm not like that. All that 'I'm just a fish in the sea, I'm so lonely' -- that's kind of rubbish. There is nothing on my record that you can't understand literally.

w.a.s.t.e is very pleased to announce that Radiohead will be playing the following Japanese dates in April 2004.

April 14 Osaka INTEX
April 15 Osaka INTEX

April 17 Tokyo Makuhari Messe
April 18 Tokyo Makuhari Messe

w.a.s.t.e will have an allocation of tickets for fans which will go on sale from the w.a.s.t.e ticket shop on or around the 20th December 2003.

To find the w.a.s.t.e ticket shop please go to: www.waste.uk.com

Below is the ticket information for general sales:

We believe the general on-sale date is set to be the 20th December 2003. For all information updates please click the Tour Announcements and Info link from the front page of www.waste.uk.com. From there you will find a link to the Japan 2004 dates.

Website address http://www.creativeman.co.jp (only Japanese)
Telephone Number +81-(0)3-5466-0777


Japan
Box/venue website:
Tokyo Makuhari Messe http://www.m-messe.co.jp
Osaka INTEX http://www.intex-osaka.com
Ticket prices:
JPY 7,500 - for all the shows.

Box Office numbers:

Ticket Pia 0570-02-9999
Lawson Ticket 0570-00-0403
CN Play Guide 03-5802-9999
E-plus http://eee.eplus.co.jp

Sianara,
all@waste

14 Apr 2004 in Osaka, Japan at Intex Osaka
15 Apr 2004 in Osaka, Japan at Intex Osaka

17 Apr 2004 in Tokyo, Japan at Makuhari Messe
18 Apr 2004 in Tokyo, Japan at Makuhari Messe

Reporting to you straight from the ‘Split Sides’ concert with Radiohead & Sigur Rós. Unbelievable! The music, the dancing, the costumes, and lighting all really were awesome! The night started with the announcement: “Ladies and Gentlemen, Mayor Bloomberg”. The curtain rose to reveal not only said mayor but Merce Cunningham, Jasper Johns, the choreographers, Radiohead, Sigur Rós, and the dancers warming up behind them. Each band had 20 minutes to create their portion of the music. There were two separate costumes (white & black, and colored), sets of dancers, and lighting arrangements. A roll of a die decided which order they would be performed.

Radiohead went first; the dancers outfitted in black & white. What was so great about the music they made was that I could hear sounds and tricks the band like to use live, and from their albums, but still completely original. This was no film score or extended song it was its own. While it is difficult to describe what was heard, some of it reminded me of treefingers, the gloaming, how to…, and kid a. Radio was sampled during the performance which sounded like a man clarifying what is still within the realm of being devout. The sample was brought back and mixed up quite a bit.

Sigur Rós created an instrument made of ballet slippers. They seemed to react to the dancers (this time in color dance suits) more then Radiohead. Meaning SR was mostly in lock step; Rhead was more over all mood. SR broke out keyboard sounds, combination lock (used a lot), and bow on a xylophone. And a killer second half with tribal like beat created basically all by cut up vocals, and base beneath.

Rumor has it SR had a rehearsal with the dancers yesterday, which would explain their uncanny ability to be very in tune to their movements. Whether they did have prior knowledge is unknown to me. More rumors from the crowd include the sound was recorded for the remaining performances instead of others emulating the music of tonight. Still I don’t think the performance as a whole will be released to the public. I hope I am wrong.

Was a first to see both bands too. Heaven.
-ityc

Hi,
A reminder that we've just posted up a fresh batch of 20 tracks at the Loophole, congratulations if you're one of this month's winners. Go to
http://www.digitallandfill.co.uk/loophole/mp3 to get them. Also, due to the quality and number of entries we've received so far, we've decided to keep the winners section open into next year, so there's plenty of opportunity to be lucky.

All the best,
w.a.s.t.e.

1. Elvis Presley's record sessions at Sun studios which produced the That's All Right single (1954)
2. Bob Dylan goes electric at the Newport Folk Festival (1965)
3. The Clash release White Riot (1977)
4. The Beatles appear on US TV's The Ed Sullivan Show (1964)
5. The Rolling Stones release Jumpin' Jash Flash (1968)
6. Jimi Hendrix plays the Monterey Pop Festival (1967)
7. Neil Young releases Time Fades Away, the first of a trio of uncompromisingly dark albums (1973)
8. John Lennon releases the Imagine album (1971)
9. Nirvana emerge as one of the world's must-see live acts during a UK tour (1990)
10. Led Zeppelin release their first LP (1969)
11. Sex Pistols' foul-mouthed appearance on ITV (1976)
12. Pink Floyd release Dark Side of the Moon (1973)
13. Marvin Gaye threatens to quit Motown unless What's Going On is release (1970)
14. Brian Wilson / The Beach Boys release Pet Sounds (1966)
15. Bob Marley seeks out Lee 'Scratch' Perry to produce the Wailers (1970)
16. Radiohead's guitarist Jonny Greenwood sabotages lead singer Thom Yorke's song Creep (1992)
17. The Velvet Underground are fired from Café Bizarre in New York after performing the The Black Angel's Death Song twice (1965)
18. Frank Sinatra records Someone to Watch Over Me (1945)
19. Blondie's Heart of Glass reaches number one in Britain (1979)
20. The Kinks' Waterloo Sunset puts London at the centre of the Swinging Sixties (1967)

Bombarded by questions about Britain's favourite band Radiohead, Healy confessed he was dead stupid.

I wrote in my diary that I hate Radiohead because they're too clever and I wish I was clever. I envy the way they write and make music. But it's good to be stupid. Intelligent people look at too much, whereas stupid people see one thing clearly.

Like, look at Radiohead. They make an album, and its called the greatest album of the 20th century, and they go and say well, the hell with it. We're going to do something completely different. That takes balls. And I appreciate that as a listener because I want to know what they're up to next; I want them to take me to the next place.

Chris O'Riley is a dedicated man. Not only has he won rave reviews for his interpretations of the classical cannon, but he does his best to introduce younger generations to such music on his popular NPR program From the Top.

Last week PLAY talked to O'Riley, who spent most of his childhood in Evanston, about his reasons for tackling Radiohead and his upcoming show at Pick-Staiger.

PLAY: This is the first time you've played a show in your former hometown. Did you choose Northwestern over other places because you grew up here?

Chris O'Riley: Actually, my managers got a call from NU. I'd been doing half-recitals -- half classical, half-Radiohead. Someone must have said, "Hey, this really too cool to pass up." It's fortuitous, though. A good coincidence.

PLAY: What got you started with Radiohead? What about them appeals to you?

CO: Texture is the main thing I consider when picking any piece of music to learn or play. That and harmony. Texture is most important, though. There are several bands that have a great sense of harmony, like U2, but what makes it possible to do arrangements that are faithful and true are ones with plenty of notes to work with. So that really opens up all kinds of possibilities.

PLAY: What were the biggest difficulties in transcribing and interpreting these songs?

CO: The two most important things were that in the really guitar-based pieces I was looking for the rough edge of the sound. The other main thing is what to do with the voice -- most of the time it's not enough to play the melody with one note to get at not only the song, but the lyrics that aren't there. You have the melody and then you have suggestions of things under it that color it. I'm trying to get at more material within the songs themselves, [which meant> writing every goddamn note down and trying to find a solution that works for me. I'm not a great improviser.

Everyone loves the British art-rock band Radiohead. Except maybe your co-worker. The person sitting next to you on the subway. Your best friend. And 23-year-old Olenka Denysenko of Manhattan - who definitely won't be catching the band tonight and tomorrow at Madison Square Garden.

I borrowed one of their albums from a friend when I was on a long bus trip, she recalls. It was sleepy, mellow and a downer - I was about to slit my wrists.

Denysenko is among the growing number of music buffs who commit the alt-rock equivalent of sacrilege: admitting they don't like Radiohead.

The Internet is ablaze with people like her.

Check Google and you'll find nearly a thousand hits for phrases like {i>I hate Radiohead, Radiohead sucks and Radiohead is overrated.

Their music just scares me, says a blogger named Tiffany. There's nothing so great about this band to me. Hell, to me, they're probably the worst band ever.

I think they're boring, offers Erin Franzman, 27, an AOL city entertainment guide editor.

To me, their last good song was Creep because that was the last song that had a hook and was short. I don't like whiny, self-indulgent musicians, which is what I think they are.

It'd be easy to think we'd keep all those Front Row tickets and Photo Passes and cameras to ourselves. But then we probably would have a bunch of angry fans on our hands. So, here it is...a list of all the winners. Congratulations and enjoy!

Photo Pass:
Aug. 20 Columbia, MD Michael Monroe
Aug. 21 Cuyahoga Falls, OH Amanda Jenkins Aug. 23 East Troy, WI Michael Holland Aug. 24 Maryland Heights, MO Nancy Tjaden Aug. 26 Denver,CO Cliff Minks Aug. 28 Valley City, UT Kelly Larsen
Aug.31 Auburn, WA Alexandra Song
Sept.23 Mountain View, CA Sean O'Brien
Sept. 25 Los Angeles, CA Alessandro Cortini Sept. 28 Chula Vista, CA Ian Rivamonte Oct. 1 Spring, TX Raymond Tam Oct. 2 New Orleans, LA Cathlin Barnum Oct. 4 W. Palm Beach, FL Erik Sierra Oct. 6 Atlanta,GA Heather Ingram Oct. 9 New York, NY Andrea Mavis

Front Row:
Aug. 20 Columbia, MD Susan Washenberger
Aug. 21 Cuyahoga Falls, OH Valerie Bradshaw Aug. 23 East Troy, WI Sankalpo Ghose Aug. 24 Maryland Heights, MO Jared Cowley Aug. 26 Denver,CO David Boyer Aug. 28 Valley City, UT Jonathan Bowen
Aug.31 Auburn, WA Krystall Mirdad
Sept.23 Mountain View, CA Tristen Read
Sept. 25 Los Angeles, CA Kelly Baily
Sept. 28 Chula Vista, CA Nancy Horiye
Oct. 1 Spring, TX Jennifer Odom
Oct. 2 New Orleans, LA Catherine McLancan Oct. 4 W. Palm Beach, FL Kimberly Urban Oct. 6 Atlanta,GA Jessica Pittman Oct. 9 New York, NY Megan Palasciano

Now playing: Stand Up, Sit Down on 2250 There might not be anything better than Radiohead live. Well, maybe winning the lottery, but what are the chances of that? The odds that you could hear an exclusive live Radiohead track are much better. Why, you might ask? Because you can listen to a new live song every week for the next 5 weeks by texting RADIO to 2250 from your AT&T wireless. This week's track: Stand Up, Sit Down.

http://www.capitolrecords.com/radiohead/2250.html

CD1 (CDR 6623)
1. 2+2=5
2. Myxomatosis (Kristian Vogel remix)
3. There There (demo version)

CD2 (CDRS 6623)
1. 2+2=5
2. Scatterbrain (Fortet remix)
3. I Will (1st mix Ocean Way)

12" (12R 6623)
Side A. Myxomatosis (Kristian Vogel remix)
Side B. Scatterbrain (Fortet remix)

DVD (DVDR 6623)
1. 2+2=5
2. Sit Down, Stand Up (Ed Holdsworth video)

Radiohead writes opaque lyrics and shape-shifting melodies, and their singer wears a vest -- not exactly a recipe for pop stardom these days.

The British quintet's latest tour, which stopped Monday night at the packed HiFi Buys Amphitheatre, has thus amounted to a sort of victory lap celebrating yet another gold record (this year's Hail to the Thief) and, more importantly, a full decade on the international rock scene.

The self-consciously odd band has never fit into rock convention. Its 1993 breakthrough single, after all, featured the refrain I don't belong here. And since then the music has shifted from soaring guitar anthems to deconstructions of the pop form itself.

But this approach has yielded a string of surprisingly successful records. And, as the band's Atlanta concert showed, it also works in a live setting.

Monday's arrangement of There There went so far as to ask guitarists Jonny Greenwood and Ed O'Brien to join full-time drummer Phil Selway on percussion. The clattering Idoteque appeared to be a full-band audition for the movie Drumline.

In today's version of Radiohead, beats, rhythms and (above all) textures supercede melodies and harmonies. This can feel mechanical at times, which explains why the band's critics find Radiohead songs a bit chilly.

On the other hand, the emphasis on droning keyboards and ethereal vocals also explains why the band's biggest fans find Radiohead music so otherworldly. It sounds like nothing else. And it feels like floating.

Radiohead started its show Saturday night like a conventional rock band: three guitars blazing, enigmatic singer Thom Yorke cloaked in a black leather jacket, band faces blown up large on video screens.

Structurally and lyrically, the opening song, 2+2=5 (The lukewarm.), from the band's latest album, Hail to the Thief, see-saws between deliverance and despair. But at West Palm Beach's Sound Advice Amphitheater, the English five-piece stood and delivered.

By the end of the two-hour show before a sold-out crowd of more than 18,000, guitarists Jonny Greenwood and Ed O'Brien were on their knees, creating a wall of sound with effects boxes that manipulated samples of the band. The music, mutated, remained thrilling.

Tunes were marked by either a frightening intensity (2 + 2 = 5) or a piercing sense of isolation (Sit Down, Stand Up). But in each case, Yorke, who also played electric and acoustic guitar and piano throughout the night, lived and breathed the music in a way that couldn't be denied. By the time he came to Where I End and You Begin, he continually repeated the last line, I will eat you alive, with such rapt absorption, you could have pictured him devouring half the audience.

It got even better. As much as Radiohead's sound is driven by electronics and often approximates the trance-inspired beat of the club scene, the band proved itself to be more guitar-based onstage. Credit that to Jonny Greenwood's bold presence; he does things with the instrument you swear you haven't heard since the days of Jimi Hendrix and Jimmy Page.

And there are other sides to Radiohead's strange -- and strangely wondrous -- personality that emerge more clearly in concert. Like the nasty streak of humor that runs throughout the aptly titled We Suck Young Blood, a song that Yorke, never afraid to bite the hand that feeds him, dedicated to Clear Channel, the entertainment conglomerate that owns the Sound Advice Amphitheatre.

The icy precision and future-shock chill of Radiohead's most recent offerings can leave a listener cold. Singer Thom Yorke's cryptic poetry, a pastiche of metaphors and moments, is not easy to decipher, especially given his tendency to bunch up or elongate words and phrases.

But for two hours at a sold-out UNO Lakefront Arena on Thursday, the five members of Radiohead infused the sometimes indifferent architecture of those structures with warmth, heart and soul. Even without obvious anthems, Radiohead has assumed the artistic mantle of U2 in its Achtung, Baby heyday: that of the most daring and vital arena rock act on the planet.

The quintet conjures a complex alchemy of electronica, modern rock, punk and folk. Despite the inherent challenges in recreating such arrangements and building a show around them, Radiohead alters its set list each night, keeping audiences guessing and the musicians fully engaged.

On Thursday, they opened, improbably, with the drum and bass white noise of The Gloaming, followed immediately by the percussive stomp of There There. Seven additional tracks in the 23-song set originated on Hail To The Thief, Radiohead's current, sixth album. The remainder sampled more or less evenly from the previous OK Computer, Kid A and Amnesiac.

Only two songs surfaced from The Bends, Radiohead's 1995 breakthrough. Fake Plastic Trees was a highlight, showcasing the inherent heartbreak in Yorke's delicate voice and a potent majesty in its grand swell. My Iron Lung ranged from quiet meditation to planned chaos, as did the set as a whole.

Q: What are you listening to in your car these days?

A: I really like Queens of the Stone Age. And, the obvious, The White Stripes, I love Elephant. Radiohead, of course. I love Radiohead. Hail to the Thief... excellent, excellent record. I also like, The Strokes. I'm lookin' forward to hearin' the new Strokes record. There's not very much of a chance that it's gonna be as good as their first one, but if it is as good as their first one, then forget it. They're The Beatles.

Radiohead guitarist Johnny Greenwood knows exactly when and where the band's creative process got confused.

I was in so many dance record shops, seeing people listen to two seconds of all these records and then choosing them on that basis, he said, recalling the time before Radiohead's North American tour, which stops at the Sound Advice Amphitheatre in West Palm Beach tonight.

That started to get to me, judging five minutes of music on the quality of the sound and the rhythm that's in them. I found myself doing it, walking up to the turntable and plowing through a pile of vinyl.

I started to get the fear that Radiohead was just going to go down the route of generating new sounds for the sake of it, and thereby lose something musical. Most of my favorite records are full of new sounds that you've never heard before, but there are some really bad records like that. It's like anything else. You can make a truly original film that's unwatchable rubbish. It's in music as well, but it can be harder to spot.

Q: At 84, you are one of the oldest living avant-gardists. I hear you will be collaborating with the band Radiohead when your latest work, Split Sides, opens this month at the Brooklyn Academy of Music.

A: Yes, Radiohead and Sigur Rós are our composers. I like them both very much. Every night there will be a roll of the dice to determine which of the two bands goes first.

Q: I've never understood your great love of chance.

A: When you have a number of possibilities, you can use chance.

You can roll the dice. It relieves your mind.

We're not spokespeople, we're musicians, said guitarist Ed O'Brien in a telephone interview, expressing audible disdain at the mere idea. I love the lyrics on this album. I like the sentiment and the feel of them. Still, he reiterates, We're not spokespeople, we're just musicians.

So how is a Radiohead album made? According to O'Brien, it's a communal affair. . . . Thom presents you with fairly stripped-down versions of songs, then you start writing things. (The credit) always ends up referring to Thom, but it's definitely a collaboration. It's inclusive. You can put in as much as you want to put in. You throw things into the pot: Some stay, some don't.

Now, the band is looking forward to playing its "own gigs" in its first major U.S. tour in nearly two years.

It's a privilege to play here. We have an amazing audience out here. We're given lots of encouragement, which gives us a license to push things musically, O'Brien said. We're going to play around with the setlist. It should be quite fun. . . . I'm happy to play most of our songs as long as we keep moving, keep it fresh.

Coldplay and Supergrass may be the current darlings of radio and video. The Brit-pop band changing the landscape of new millennium music, however, is still the veteran Radiohead.

The Oxford, England, quintet returned to a sold-out Cynthia Woods Mitchell Pavilion Wednesday. It held a crowd of over 16,000 standing and entranced for nearly two hours with a mix of new melodic sound walls and past gems.

Filing onstage to the purr of a record skipping that served as a prelude to 2+2=5, Yorke's sustained falsetto note drew cheers from the young adult crowd like a finely played guitar solo. When he started to jump like a gleeful child on a featherbed for a chorus rant of Pay Attention! the audience was already plenty tuned in.

Poles throwing Lite-Brite showers of multicolored illumination from behind the band came to life for new song Sit Down Stand Up. The beat sounded like a guitar jack being plugged and unplugged from its amp. As drummer Phil Selway's snare loop gained speed behind Yorke's piano lilt, the light sticks behind them were like a giant stereo equalizer that had gained a pulse from the song's beat.

Radiohead does occasionally show its influences. The flamenco jazz rhythm under guitarist Jonny Greenwood's squelching effect pedals for Where I End and You Begin is territory the Cure and Siouxsie and the Banshees excavated 15 years ago. A rare step back to their 1993 debut album, Pablo Honey, for the song Lurgee uncovered the blueprints for later twinkling children's lullabies like No Surprises.

When questioned what rock music he would personally recommend to the kids, Jack was pretty candid.

Roundabout, Yes album É I actually gave Robert (one of the child actors) a Radiohead CD since he's a classical pianist, Black says.

Even if we are the shittiest band in America, we've been the most progressive, Kurosky says. I think we kind of push ourselves more than most bands do, wouldn't you say? Other bands just make records over and over and over again--I won't name bands, but their sixth record sounds like their first, you know?

The only band that seems to get away from challenging the audience and changing from record to record and not getting any grief is Radiohead, he adds. They're the only one; everyone applauds it. Thom Yorke could easily fart on a microphone for a good hour and everyone will go, Holy shit, that's a 10!

Perhaps O'Riley's approach to both the Rameau and the Brahms was intended to show that dense music has always been around because after intermission, he pounded his way through his own arrangements of the music of Radiohead, the hot British alternative rock bank with whom O'Riley is completely enamored.

Only being a peripheral Radiohead fan, I found most of the pieces as appealing as the originals I have heard. Most of them were full of layered densities that effectively translated the band's synthesizers, electric bass and drums, such as in Airbag, Subterranean Homesick Alien and Bulletproof.

Have you been payin' attention? payin' attention? payin' attention?

We've got up-to-date set lists. We've got brand new live photos. We've got fan reviews. AND for a limited time only we've got exclusive live recordings you can savour every last minute until the next show. This week's track is A Punch-Up At A Wedding and stay in text because 2250 will feature a new live track every week for the next 5 weeks.

Text 2250 to RADIO from your AT&T Wireless.

Congratulations to Kristen Suhrenbrock for winning our Thief Hunt competition!

http://capitolrecords.com/radiohead
http://www.radiohead.com

The American Museum of Natural History is trying to shed its dinosaur image. The 134-year-old institution is reaching out to the hipster set with SonicVision, a computer-generated musical acid trip set to an alt-rock soundtrack that opens Friday.

Picking up where last century's Laserium left off - remember those rock 'n' roll light shows popular among stoners in the '70s? - SonicVision replaces lasers with digital animation.

Instead of Led Zeppelin and Pink Floyd, the music is from Radiohead, U2, David Bowie, Spiritualized, Coldplay, Queens of the Stone Age and other artists selected by Moby, who helped create the show in conjunction with MTV2.

At the show's opening on Monday night, the museum's Rose Center for Earth and Space seemed more like a rave hall than a museum. Inside the domed Planetarium, guests craned their necks upwards as Radiohead's Everything In Its Right Place opened the show.