The U.K. documentary Bodysong is the visual equivalent of Radiohead's last few records: A Guardian review described the film as a "free-form collage of images" that "strive to evoke a poetry of the human body with ideas about birth, death, sex, violence, and dreams." Naturally, Jonny Greenwood -- Radiohead's lead guitarist and sound manipulator of its chaos theories -- scores Bodysong with instrumentals perfectly encapsulating its hodgepodge style. Alarmed squawks from saxophones and trumpets drive the fussy free jazz of "Splitter," short-circuiting electronic sparks and guest Colin Greenwood's bass blotches perforate the ominous "24 Hour Charleston," and "Bode Radio/Glass Light/Broken Hearts" jumps seamlessly from Enoesque synth ambiance to strings resembling a tragic silent-film score. With no lyrics distracting from the music, Bodysong resembles a purer form of Kid A in the way its sparse structures provoke intense visceral reactions. Like every successful score, Bodysong intrigues even outside of the theater.

While composing music to accompany the dialogue-free tour of the human experience that is the film "Bodysong," Radiohead's Jonny Greenwood made a decision. Since the images themselves did not repeat, why should any of the soundtrack? Indeed, there are no recurring themes to be found here. Rather, Greenwood (with assistance from the Emperor String Quartet on several cuts) indulges Radiohead's most experimental leanings on a series of concise pieces. Strings buzz behind a solemn melody on "Moon Trills," while gauzy processed tones conjure an ominous vibe on "Clockwork Tin Soldiers." Uppity percussion is the sole force at work on "Convergence," while electric bass battles a banjo on "24 Hour Charleston." "The Bends" this is not, but Radiohead fans will revel in an unvarnished peek at Greenwood's musical mind-set.

Jonny and Thom from Radiohead - recently slated in the press by The Darkness of all people - have suggested that reality pop stars are being moulded into "40 year-old stars like Annie Lennox."

DiS would like to contest this somewhat - Michelle McWhatever looks nothing like Lennox at all. Indeed, she's more Lewis than Annie (and likewise should probably retire soon).

However, the sour-faced duo have a degree of respect for Fame Academy's favourite lesbian Alex Parks: She's got a fuckin' great voice and if this is the only way she can get out to people it's a shame because there's really something going on there and people will dismiss it because it's that. If that's the only way to get exposed now then there's something seriously wrong with the music industry. I'm against the safety of it all. The industry sort of eating itself whole seems to be depressingly pointless.

"New Zealand Radiohead fans who are left feeling slighted by the band after the announcement that they will be doing shows in neighbouring Australia, are planning to create a petition to try and sway the English men to hop over the ditch and play a show in Auckland. The petitions creator says he wants at least five thousand signatures before sending it to Radiohead management, to do this he and some of his colleagues will be going to local universities and other landmarks around Auckland to gather support."

If that's the only way to get exposed now then there's something seriously wrong with the music industry.

I'm against the safety of it all. The industry sort of eating itself whole seems to be depressingly pointless.

NME: Have you got a message for the NME readers?
Thom: Jonny?
Jonny: What can I say? It’s nice for people to have patience with what we’re doing.

NME: Its ten years since you last came to the awards, Thom...
Thom: I know, we’re old. U2 were here I think last time. I had a video camera. I remember getting back home with the videotape and I’d just recorded this women’s breasts because it was on while I was talking to her. I showed it to my girlfriend, she wasn’t impressed.

NME: Do you still remember saying the NME Awards were going to send shockwaves though the music industry?
Thom: Who said that?

NME: You did. We have it on tape. Who would your God Like Genius be?
Thom: Whoever turns up! How about the Pixies? They’re reforming. We’re playing with them.
Jonny: Steven Malkmus. I’ve been listening to him loads.

NME: Who should win NME Awards next year?
Thom: I really like the Franz Ferdinand record. And I like the Liars. I think they could do it.

NME: What have you been drinking?
Thom: Wine, but it’s awful!
Jonny: We just did a really terrible thing. We just went out to get our own. We’re going to come back with a carrier bag full of booze.

NME: Have you met any rock star pals today?
Jonny: Most people we recognise, but we work out in Oxfordshire. We don’t really know anybody.
Thom: We’re not allowed to admit that we don’t know what the fuck you’re talking about. Ha Ha!

NME: Anybody here you’d like to make a record with?
Thom: We’re kind of not collaborating at the moment. We’ve got this whole thing where we go into the studio on different days and do different things and we’re not comparing what we’re doing.

NME: How did it feel to win album of the year?
Jonny: We know we can try people’s patience and it’s nice to know that people still have patience.

NME: Those Little Britain Boys were very affectionate to you.
Thom: Ha! He was going to do it. He was trying to give me a full-on smacker. I didn’t want one.

NME: We’re sure the pictures will appear somewhere on the Internet.
Thom: I know.

I think Radiohead is really good. Jonny's a very good player and quite a humble guy, and quite shy. He is a real find.

Mother Jones: What was your first experience as an activist?

Chris Martin: Probably a "Drop the Debt" event in London. The great thing about "Drop the Debt" is that you have Bono and (Radiohead's) Thom Yorke and all these high-powered musicians actually going inside the buildings where decisions (about Third World debt) are made. I'm not sure how much George Bush is swayed by 100 people standing outside his house. I'm sure he's more likely to be influenced by one person having a meeting with him.

When Jonny Greenwood performs with Radiohead, he spends some time at his keyboards and guitar and some time on his hands and knees, working effects pedals to create the foreboding aura that envelops Radiohead's songs. His instrumental soundtrack for "Bodysong," a documentary about human life from conception to death, largely sets aside song forms for experiments in ambience.

Its tracks are like the protoplasm of Radiohead songs: a slow sequence of piano chords with hovering strings in "Moon Trills," spattered layers of percussion in "Convergence," glassy synthetic tinkling that turns into a somber march in "Clockwork Tin Soldiers," yearning melodies scored for string quartet in "Iron Swallow" and "Glass Light/Broken Hearts," and muscular jazz-quartet vamps in "Splitter" and "Milky Drops From Heaven."

Radiohead fans should be fascinated by the panorama of Mr. Greenwood's musical laboratory, and it is clear how much he contributes to Radiohead's haggard beauty. On its own Mr. Greenwood's music conjures disquiet, serenity, turbulence and glints of wonderment.

Here is the tracklisting:
Episode 1.
full breakdown incl. name of artists work.

Episode 2.
full breakdown incl. name of artists work.

Episode 3.
full breakdown incl. name of artists work.

Episode 4.
full breakdown incl. name of artists work.

Eighties music is music to me, he said. Those are records that make you feel good, you know? I'm tired of stuff now, even stuff that I do. Coldplay and Radiohead are the illest groups to me. That's music. Norah Jones is music. I love real music that I can play and never get tired of. The stuff I don't get tired of is the stuff that's musical.

Beginning their second decade of making records, Radiohead brings the old and new listeners together for a record that blends the experimentation of Kid A and Amnesiac with the time-tested greats of O.K. Computer and The Bends without losing their sense of adventure. It's good to see a band that has been commercially successful not go crazy or stay the same but, instead, move forward, progressing a sound that even after 10 years is still growing.

Teenagers and young adults sat on chairs around tables, sipping mineral water and eating jellied sweets, while the church’s worship band played Radiohead hits. There was no liturgy as such but I still felt the urge to confess to never knowingly having listened to a Radiohead song before. The first impression was of a nihilistic, tribal band with subtle undertones of Celtic mysticism. Having been warned by well-meaning friends to expect an Alpha-style assault on my innate Anglo-Catholicism, I was initially surprised to find that there was not much Christianity to be discerned in Radiohead. The second was to hear the evangelical vicar in his sermon ulogising them as biblical prophets for today. In the neon sign scrolling up and down I am born again, we heard. In an interstellar burst I am back to save the Universe.

The Rev Stephen Hance, who arrived at Ascension in 1999 when it was already a gently growing evangelical community, was so impressed with his first Radiohead single that he gave it away to a charity shop. His predecessor was Canon Andrew White, an equally impressive clergyman who is now at Coventry Cathedral and is active in the ministry of reconciliation in the Middle East.

Mr Hance introduced the Radiohead service after he found himself wondering why songs that are more likely to have listeners reaching for the Prozac rather than dancing round their handbags have captured the contemporary mood so effectively. That week the band had received the most nominations for the forthcoming NME awards.

The text of the sermon was: Why do we love misery and pain? The band, being covered here so effectively by the church’s own musicians, led by guitarist Sam Hargreaves, were prophets for today, he argued. Prophets receive messages from God, communicate them to the people. They are “seers”; they see the future. They are often apocalyptic, envisioning doom. They are social critics, advocating reform. Great bands are artists , not politicians, he said. They write songs, not manifestos.

In keeping with the prophetic tradition, Radiohead wrote impressionistic songs of alienation and powerlessness. So are they prophets? It is pretty obvious that they do not see themselves as messengers for God but there are echoes of some of the Old Testament prophets in their work. There is criticism of the rich and powerful, lamentation about injustices in society and pleading for social change.

Refree, the Barcelona-based band which plays sophisticated, melancholy, poetic pop, returns to Russia after two inspired performances in Moscow in October 2002. The band caused a club sensation and was immediately dubbed the "Catalan Radiohead."

{i>When journalists listen to my music, they believe it's very Mediterranean, very Catalan, with French and Italian influences, but if you want me to be totally truthful, I think I've listened to a lot of British and American music. Maybe there are Catalan influences, because my parents listened to a lot of Catalan music, when I was a child, so you can realize it's influenced my music, too.

Indeed, such names as Radiohead or Tindersticks frequently pop up in reviews.

I like both bands, but if I have to choose between the two names, I'd better choose Radiohead, because I think we're closer to Radiohead, he said.

I love Radiohead, I worship Thom Yorke! We were on the bill of a Neil Young benefit concert in San Francisco, The Bridge School Benefit, and Thom Yorke was doing a solo performance, playing Radiohead songs on his acoustic guitar and on Neil Young's piano - yeah that was one of the best things I've ever seen!