The eraser...album en juillet!!!!!!(Thom solo)

[sylvain2002]

MEEEEEEEEEEEEERCIIIIIIIIIIII !!!!  

[Imbéciloteque]

Aaaaaa  et dire  que la chanson qui revenait sans cesse sur TheEraser.net était Cymbal Rush  :lol2:  bien différente de celle live  :frenchy:

[Bougaflex]

thx pour ton upload hunting :)

[hunting android]

the eraser:

The more you try to erase me
The more the more
The more that I appear
The more the more.
The more I try to erase you
The more the more
The more that you appear

lyrics posted for down is the new up:

the more that i struggle
the further i get in trouble
the more i erase you
the more you appear
any other time
any other time
please
not now

mmmh pas de down is the new up alors?

[nicolas]

http://www.yousendit.com/transfer.php?action=download&ufid=6E3F480F413B454E

OHMYGOD!
merci hunting
je rentre à peine d'une journée de merde, ca fait chaud au coeur de tomber sur un joli lien (qui marche). demain j'enchaine avec 3h de route pour Orleans, je sais ce que je vais ecouter dans ma voiture    :youki:      :banana:

[hunting android]

Stanley Donwood on The Eraser artwork


Stanley Donwood reveals a bit more about the artwork for Thom Yorke's The Eraser. As reported earlier the artwork is curently exhibitioned as 'London Views' at Lazarides in London.

Stanley: "This work was started in November 2005, whilst a record that was eventually called The Eraser was being worked on in Covent Garden, London. I didn't know that this would become the artwork that would accompany this record, although I hoped that it would, for several reasons too vague and tenuous to go into here. Which is one of the reasons why the record is called The Eraser and the artwork is called London Views.

Another intention was to exhibit the completed project at Lazarides in Greek Street, just over the Charing Cross Road in Soho. This show opened on 19th May 2006, after an opening night which passed eventfully enough.
London Views is a picture of London, an apocalyptic panorama that stretches from the Thames estuary upstream to beyond the familiar structures of the gherkin, the NatWest tower, Big Ben and Battersea Power Station.

This medievalised vision of apocalypse in England's capital city was carved on 14 pieces of linoleum with one small cutting tool. The original blocks make up a picture about twelve feet long, which has been painstakingly hand-burnished on to beautiful Japanese Kozo paper, as it has so far proved impossible to print this using a press. Thus the edition is extremely small; only 8 have been made.

Each of the 14 sections were first proofed on a huge cast-iron printing press, an Albion made in 1860, scanned, and printed on to large aluminium/polymer composite panels, which in turn were caged with diamond-pattern wire, reminiscent of the Evening Standard headline-boards that infect the capital with their own dire predictions. Each of these panels are 75 cm wide x 140 cm high.

In addition to these, the exhibition shows individual relief prints from the original linocuts printed on that Albion Press, a selection of limited edition screen prints , and a small concertina-folded booklet showing the entire panorama. For those of you that imagine the dreadful consequences of late-period Western capitalism are not irretrievably final, I have made 33 jigsaw puzzles of disaster. These will be probably the most expensive jigsaws ever retailed. I wish you luck in the reassembly of our civilisation's Golden Era.

[hunting android]

The Tripwire posted a review of Thom Yorke's The Eraser, which leaked less than 24 hours ago:

When I first caught wind of the news that Radiohead's frontman Thom Yorke was putting out a solo album, I am sure that many of you had similar thoughts running through your head. Can Yorke actually put together a coherent album of songs, or will he go off the electronica deep end and create a collage of bleeps and bloops in the vein of Squarepusher and Auctechre? As a huge fan of Radiohead, leaning towards an obsession, I was relieved when I heard the first seconds of the opening/title track. The Eraser is a beautifully crafted song-based album that will please any followers of Mr. Yorke.

"The Eraser" opens up this Nigel Godrich-produced album with repeated piano chords over an "Idioteque" flavored beat. When the song segues into the chorus, filled with layers of Thom's vocal harmonies, I am reminded how damn talented of a vocalist he is. It seems that Yorke has finally found that perfect balance of rock/pop and electronic experimentation that supports his music rather than weighing it down. The piano continues on "Analyse," with a chord progression remarkably similar to a sped up "Like Spinning Plates." Several songs on this album do come across as Amnesiac and Kid A b-sides, not that there is anything wrong with that whatsoever.

If you've ever had the desire to hear Yorke do some human beat boxing, "The Clock" is what you've been waiting for. It is meshed with the pitter-patter of the electronic drums for a really cool, organic sounding beat. The driving rhythm and dark melodies give way to a crunchy guitar part, again showing Nigel Godrich's amazing ability to construct such incredible sonic textures. "Black Swan" features a guitar line slightly reminiscent to "I Might Be Wrong" mashed with a bit of a hip hop beat.

"Skip Divided" lets Yorke stretch his creative legs a bit, giving us one of the most experimental tracks on The Eraser. The relatively simple beat is given added substance by the distorted manipulation of him drawing a breath. This is followed by one of my favorites off the album, "Atoms For Peace." Crackles and pops form rolling beats, with nothing more than a very simple synth line and Yorke's vocals. The simplicity of the song allows Yorke to put the spotlight on his acrobatic vocals, softly leaping into his upper octaves.

The minimalism of the previous two songs is shattered by "And It Rained All Night," springing back into the darkness that comprises so much of this record. It is one of the most accessible songs on the album being about as close to a rock tune as you'll get on The Eraser. Going out with an electronica bang, Yorke concludes his debut solo album with "Cymbal Rush." Halfway through he adds some angelic backing harmonies for just a moment, then picks up the pace by tossing in a steady beat while singing in falsetto. It is a beautiful way to end the album.

I am sure that many critics and music snobs will casually listen to this album, dismissing it as nothing more than a collection of Radiohead outtakes. Sure the songs occasionally have some Radiohead similarities, but this IS a Thom Yorke album, so shouldn't that be a little expected? The Eraser allows Yorke and Godrich to dabble a bit more in electronica, which results in some breathtaking moments. As a longtime fan of all things Radiohead, Yorke has still yet to disappoint.

Posted by adriaan at June 1, 2006 12:17 AM

[Kzrystof]

As a longtime fan of all things Radiohead, Yorke has still yet to disappoint.

:oui:

[PadKidA]

Merci+++++ Hunting

[astyl120]

As a longtime fan of all things Radiohead, Yorke has still yet to disappoint.

:oui:

Comment cet album aurait-il pu être autrement?

[Kzrystof]

As a longtime fan of all things Radiohead, Yorke has still yet to disappoint.

:oui:

Comment cet album aurait-il pu être autrement?

La seule façon de me décevoir serait un The Bends 2/Ok 2/Kid A 2/HTTT 2 (au choix)... ce qui est loin d'être le cas...

[Dit-il]

Ça rame… Ça rame…
L'album entier ne passe pas… Y a moyen d'avoir ça au détail, titre par titre, comme pour les 3 premiers?…

[Dit-il]

Pis il y a un truc qui m'échappe au niveau de l'avatar…

[hunting android]

Rolling Stone interview with Thom Yorke


In the new issue of Rolling Stone (USA), there's an interview with Thom Yorke on Radiohead and The Eraser. In the actual magazine, they also talk to Colin who says he would like to work some Eraser songs into the Radiohead set. [thanks Ari]

RS: The new Radiohead songs in your live show are surprisingly straightforward. Some of them are almost like garage rock. Are you rediscovering the joys of simplicity?

Thom: "We're trying not to get too fussy, which is obviously our tendency. We don't really listen to rock music. A lot of what we listen to is techno and dub. But essentially, it's dance music, and that's feeding back into us, in a crude way."

Looking back at Kid A and Amnesiac, it's as if you had too many options in front of you and tried to use them all.

"That's always the problem. My favorite tune from that time is "How to Disappear Completely," because we didn't care how it could be seen as pretentious or anything. It just sounds glorious. What Jonny did to it is amazing.

But I like that Liars record that just came out [Drum's Not Dead], because they're using loops and stuff we've been making for ages. It's cool that there's someone besides us saying, "We're a live band, but we also do this . . ."

Describe the beginning of The Eraser.

A lot of the basic ideas were kicking around when I got all of my software on my laptop. They weren't things that would ever get to the band; they just worked in that isolated laptop space. There was no point in going to the others and saying, "Phi, do you want to try a beat on this?" Or, "Colin, do you want to play some bass?" Because the sounds and ideas were not from that sort of vibe.

What kind of vibe was it?

I would split up rhythm patterns and manipulate sounds to get to a brand new place. It was stuff that I do when I'm bored, really -- something I'd do when I'd sit in front of the television or traveling around.

It's something I've wanted to do for a long time. I wanted to work on my own. It wasn't casting aspersions on anybody. I just wanted to see what it would be like. Luckily, I happen to be in a band where nobody has a problem with that. In fact, I think there was some sense of relief, that finally I was going to do it. Rather than saying it and chickening out.

The biggest surprise on The Eraser is how clear and clean your voice is.

I kept begging Nigel to put more reverb on it. "No, I'm not doing reverb on this record." Please hide my voice. "No."

But I'm always looking for things that make me want to sing. They're not necessarily chord progressions. It can be a rhythm, with one note on it. In the last song, "Cymbal Rush," the first bit you hear is something I had for three years: one little note. I could hear the melody in there straightaway. But if you played it to anyone else without me singing it, you'd think, "What's he on about?"

There were all these random electronic doodles, but being forced by Nigel to isolate down to the best bits made me realize these were the best bits. All I could see was how clever my programming was. Suddenly I was being forced to forget all that and be the singer again. And I wasn't thinking about Radiohead. I never thought, "I should stop here. I should give this to the band." Once I made the decision to do this record, that's what I was writing for.

Were these songs written in a concentrated period?

Absolutely, except for "Cymbal Rush" -- that riff that had been around for ages -- and "The Eraser," where the piano chords are Jonny's. I recorded them on a dictaphone around his house one day. A year and a half later, I had to own up that I had sampled them, cut them into a different order and made them into a song [laughs]. "Is that alright? Sorry, Jonny."

"Harrowdown Hill" was kicking around during Hail to the Thief, but there was no way that was going to work with the band. "And It Rained All Night" has this enormously shredded-up element of "The Gloaming" [from Hail to the Thief], not that you'd ever I remember doing that in New York. I couldn't sleep one night, and it was one of those New York things, where the rain just chucks down. The rain was so loud.

"Black Swan" has this tiny, shredded segment of something that was one of the library samples we had. It was Ed and Phil doing this thing, and I sliced it into bits. The sample was 2000, but the song was 2005.

Your writing has always been intensely personal and conflicted, but because your voice is so up front on The Eraser, the words and images come through so vividly, as in "Analyse."

[Sings] "Power cuts and blackouts/Sleeping like babies." I used to live in central Oxford, on one of those historical streets, with all these houses built in the 1860s. I came home one night and for some reason, the street had a power cut. The houses were all dark, with candlelight in the windows, which is obviously how it would have been when they were built. It was beautiful.

I also like the lines in "Black Swan": "You cannot kick-start a dead horse/You just cross yourself and walk away."

[Laughs] As always, whatever psychic garbage you've got going on in your head, you end up using it. You should have seen the stuff I didn't put in. That's the shit you don't want to know about.

Your album is the first you've put out since the end of Radiohead's EMI contract. Is the XL deal for one album?

Yeah. We will only ever do that now.

Does that also go for the band's future releases?

I don't know. We haven't talked about it yet. There are a great many things we haven't talked about.

My big problem with corporate structure is this bizarre sense of loyalty you're supposed to feel -- towards what is basically a virus. It grows or dies, like any virus. And you use it for your own selfish ends. Jonny had a big problem with the fact that we didn't have any obligation -- a release date or anything. He found it difficult to work in a vacuum. Which is one of the reasons why we chose to go out on tour: "This is something we can work toward." It's human nature. Personally, I don't have that. But I can see why, if you're a group of people, you need it.

Has the band talked much about the way you want to release music in the future? There were rumors about a series of EPs.

I'm into the idea of singles and EPs. Jonny and I were never convinced about that whole thing with Kid A; "We don't release singles. This is an album, and that's it." What gets me down is the emphasis on the LP. It's one of our strengths. You can create a more exciting picture with lots of different things that you put together. But I want something that gets you on the dance floor. I always have. But we never do that.

So how do you account for the fact that, on your own, you made an album anyway?

There you go -- bloody-minded [laughs]. As it went on, this group of songs fit together quite well. It was Nigel who started it: "What if you opened with this song, then put this one and that one . . .?" Suddenly, we had the first four songs of an album.

How would you describe the status of the next Radiohead album?

We have roughs of things. We have maybe half of something so far. There's another six tunes we haven't started playing live yet. There's one called "Videotape" that's really cool. It's got lots of cyclical melodies. It's one of the first things we had. We were smashing our heads against the wall, trying to figure out what to do with it. Sometimes that drives me crazy.

What have you learned about yourself -- as a songwriter -- from making The Eraser?

I got a lot more confidence. I go through phases where I have absolutely no faith in anything I've done at all. But I was actually talking about what I was doing again. I'd ring up a friend, say "Listen to this," and play him the bass riff on "And It Rained All Night." It was things like that, little pockets of excitement that I'd missed for so long.

I was also surprised and reassured by how cool the rest of the guys were with this. When I said I was going to do it, they were like, "Yeah, please." I was a little worried when I gave them copies of it. If they hated it, that wouldn't be great. And I was worried that it would freak them out. But it didn't, which was great.

I had fun doing it as well. That is mostly what I have learned - this is fun. [Laughs] I'm very, very lucky.

Posted by adriaan at June 2, 2006 11:54 AM

[cheche]

oh la ... c'est long a lire .. surtout en anglais (grrrrrrrr j'suis une quiche en anglais) ... dommage