There is better than a good chance that while relaxing on a beach somewhere or sipping a martini in your favorite lounge, you have heard music that makes raise your eyebrow and ask, 'What kind of music is that?'
Ironically, my tastes aren't that experimental, and I wouldn't describe my music on the surface as being overtly experimental, either.
I never sing in the shower. It's very dangerous.
I love it when you hear a band, and you just go, 'Yes! I never knew it, but that's exactly what I want to hear.'
I'm amazed at how adventurous and how dangerous the music was, and still is. I haven't heard anything like it since. I'm quite surprised, because a lot of the music on there we never heard at the time.
My favorite records are not easy - they're not records that reveal everything to you the first time out.
Anything that catches my ear, I'm into. Things that are different, that change what you're listening to.
Most of the time when we do a tune, Bad Blake, it's a tune no one's heard of to begin with.
Ultimately, what interests me is using exotic sounds in my songs.
In Kid A and Amnesiac, the guitar becomes one more texture, difficult to separate from other textures.
My more risky or avant garde music is not that well known to a wider audience, but I wish it was.
The criticism people could have of my music maybe is that it's somewhat schizophrenic at times. And if you don't like that, it could bother you.
He helped make Living Things even more crazy than I wanted it to be. He added old-fashioned piano and classical folk music - that weird otherworldly vibe - all these elements got onto the record.
If someone wants to make very, very original music that no one has ever heard before, you shouldn't know anything about music. It just narrows you down, you know?
Sometimes I play something, and I haven't recorded it, and I don't know where it came from, why my hands did what they did, what key it was in, anything.
