EPISODE 5

TRANSCRIPT

[00:00:00] Savannah Wright: [00:00:00] This is Fake Plastic Podcast, a podcast that unlocks the alchemy of Radiohead — one song, music video, or live performance at a time. My name is Savannah Wright. In our second episode we learned about the various timbres Radiohead uses to craft a unique sonic landscape, from the chunky guitar of "Creep" to the eerie synth of "Like Spinning Plates."
[00:00:22] Radiohead is purposeful in the instruments and effects they use to convey a message. So what happens when you boil all of those timbres [00:00:30] into one instrument? The answer is Christopher O'Riley. Through True Love Waits and Hold Me To This, Christopher weaves the distinct instrumental voices of Radiohead into one solo piano interpretation.
[00:00:42] The result is mesmerizing. This is a special bonus interview with Christopher O'Riley. Among other things, we'll discuss what he learned about Radiohead from transcribing their work and why he believes that Radiohead's music, like that of the classical greats, will stand the test of [00:01:00] time.
[00:01:01] So here we are.
[00:01:04] Christopher O'Riley: [00:01:04] So so you do, so this is, uh, you're doing a bunch of podcasts or you're doing a particular Radiohead-centered podcast?
[00:01:11] Savannah Wright: [00:01:11] I started working here back in September and at first I was just the intern. So I edited everything and I never produced, but now I have the opportunity to produce my own and Vik and I were talking about how much we love Radiohead. And he was like, wouldn't it be great to do a Radiohead podcast? And I looked and there weren't any really comprehensive ones with did, that that they [00:01:30] did interviews for. And that was so surprising to me because Radiohead is such a big deal in the music scene.
[00:01:35] So yeah, that's how I started it. So.
[00:01:38] Christopher O'Riley: [00:01:38] Excellent.
[00:01:39] Savannah Wright: [00:01:39] So let's start with you. Um, I know you've been asked this question a lot, but, but I do want to hear it in your own words about why you chose to adapt a Radiohead as opposed to other artists. Like, why did you want to start there?
[00:01:52] Christopher O'Riley: [00:01:52] See, I've, I've mostly been a classical artist my whole life, except for when, uh, I think in [00:02:00] like sixth grade, I decided, you know, that girls were not that impressed with fast octaves and Liszt Hungarian rhapsodies and stuff like that. So I started a little rock band and not a great time to be a keyboard player in rock music.
[00:02:15] I mean, we just had like The Doors and Iron Butterfly and a little bit of Santana. But, um, so I kept with that and then went on from there to jazz rock. I was doing a lot of Miles Davis' Bitches Brew, you know, sort of era stuff got [00:02:30] heavily into John McLaughlin and the Mahavishnu Orchestra. And so that, that really led me into serious jazz. And I was playing jazz in high school.
[00:02:38] When I went to music conservatory at New England conservatory of music, I was going with the idea that I was going to pursue both, but pretty soon got there and realized that I was much more challenged by revitalizing classical pieces and so stuck with that. Um, and so it was from there that I, uh, just stuck with classical musical.
[00:02:59] It was always [00:03:00] listening to new things. And I also, uh, almost 20 years ago, um, started a radio program called From the Top, which was on NPR. And, um, that was going to be all about all kinds of young musicians playing all kinds of music. And then the stations said, 'No, it has to be all classical. If you play one minute of jazz or rock you're off.'
[00:03:23] Um, so at that point we were doing it and, uh, it's an hour long program and there was a halfway point where, uh, [00:03:30] stations were either going to play what we sent them or break away for local business. So I used that as my, as my solo spot. I would play a little solo. And so I thought it would be cool.
[00:03:40] I found out at that time about OK Computer. And it was like the most written about record, you know, in, in rock music since you know, The White Album or Abbey Road or something like that. Got it, fell in love with it, started collecting, you know, everything prior to it, you know, B [00:04:00] sides and live tracks and all kinds of things, and really got into the music.
[00:04:05] And so then when I started running out of little Chopin preludes to play on the show, I thought, well, how cool would that be to be playing Radiohead on the program? And everybody in the audience, nobody at NPR is going to know that I'm not playing classical music. They'll figure I'm playing classical music.
[00:04:19] And our announcer would come on and at the break, they would say 'That was our host, Christopher O'Riley playing "Karma Police" by Radiohead.' And we would start getting email into the program saying, you know, 'Who is this [00:04:30] Mr. Head? And where can I find his beautiful music?' Cause they just figured I was playing classical stuff.
[00:04:35] There's a long tradition of classical composers. Franz Liszt, the virtuoso pianist of the early and mid 19th century, is  the best example of somebody who would play not only his own music, but also transcribe orchestral pieces, opera pieces, art songs for piano solo, partly just to proselytize for other composers who weren't getting around as much as he was. And [00:05:00] because there was no radio at the time.
[00:05:01] Um, and so there's a long tradition of doing pieces, not intended for piano on piano, because piano has the capability of sounding orchestral or ideally sounding like a human voice. So I had done a little bit of transcribing of other classical pieces before, but I, I really got the idea of doing Radiohead on the piano, just because I just wanted to get as close to the music as I possibly could. You know?
[00:05:28] And so then it was just a [00:05:30] matter of, you know, figuring out which one. Actually, it was really a matter of figuring out which ones I didn't want to do. Cause I really wanted to do most of them. It was like, I love all the tracks on all the, all those records. And, and I think the first one I did was "True Love Waits". Um, and then just kind of went from there.
[00:05:49] Savannah Wright: [00:05:49] Yeah. So I wanted to ask you about that. How did you decide which songs to put on each album and how to, I guess arrange them? Cause there are so many ones you could have done.
[00:05:57] Christopher O'Riley: [00:05:57] Yeah, it was, it was usually a [00:06:00] matter of just following my obsession. It was usually a matter of, you know, which song I was just obsessed with.
[00:06:07] You know, I was listening to that huge compilation. Uh, what is it like a 10 disc set called I'm blanking on it now. But it was a, it was an internet sort of collection of all their live tracks and all the B sides and things like that. And so I would be listening to that stuff obsessively, and it was just a matter of which song I was listening to for like a hundred [00:06:30] times. And then I would get an idea, you know, like how I would get my foot in the door on this particular song.
[00:06:37] The, the other part of the classical sort of frame of mind is that as a pianist, I'm really interested in two things. Texture and harmony. Harmony, like just a harmonic language, you know, like a chord change that kind of gets under your skin, or it makes your hair stand on end. It's just the central aspect of harmony. And also texture, meaning that, you know, a lot [00:07:00] of pop music is rather vertical. It's really, you know, sort of power chords and not really, it's just monolithic and not terribly interweaving. And the best classical music for me is it's like Bach and Shostakovich and Rivelle and Chopin. And that is an interweaving of voices.
[00:07:18] And so even though, you know, we wouldn't necessarily call Radiohead a uh, classic rock band or, or even a classically minded rock band or an art rock band. I [00:07:30] mean, I think Jonny is probably one of the only ones who's who reads music per se. Every song that I really gravitated to was always a combination of all five members of the band contributing one particular theme or motif.
[00:07:49] Um, you, you listen to things like there, there, and there are, there are recordings of them just kind of jamming their way through that. But pretty soon you realize that there's this guitar [00:08:00] line that Jonny's contributing, and things like on "All I Need", you know, you have the, sort of the counterpoint of the drum and bass being in four four, but over an overlayer of, you know, a 10 beat measure. And so how that sort of is a mandala and, uh, and, and sort of this overlay of, of different textures and different voices. "Let Down" is another great example. Um, cause you've got the harmony, but you've also got this 20 beat [00:08:30] guitar line.
[00:08:30] And then, you know, these other things, Thom would always, you know, if people would request it, you know, they just 'no I can't do it. It's too effing hard,' you know? And they eventually brought it back into the repertoire, but you know, those types of songs would be the ones that I would gravitate to first.
[00:08:47] There were other things, obviously, you know, it wasn't about popularity because I never imagined I would do "Creep" cause "Creep" is really. When you come down to it, it's more noise oriented. I mean, the stuff that Ed does at [00:09:00] the beginning, and it's a little bit more noisy oriented. Or "Electioneering" or things like that, you know, the things that aren't really contrapuntally based are the things that I sort of stayed away from.
[00:09:14] And I know, and there, there would be times when I would consider doing one song or another, and then maybe, but I would never really start on it, even if I didn't really feel like I had a good foot in the door. Um, as much as I love the song, you know, [00:09:30] just, if it didn't really have a way to happen on the piano, you know, I wouldn't just do it for its own sake.
[00:09:37] Savannah Wright: [00:09:37] Did you think that you were going to do two separate albums or were you thinking, okay, I'll just do this album.
[00:09:41] Christopher O'Riley: [00:09:41] I was just doing, I was really just doing them because I loved them and I was playing them on my radio program. And at the same time I was doing Nick Drake and I, and when I first did my True Love Waits tour in the UK, it had just been after getting completely into Elliot Smith.
[00:10:00] [00:09:59] So I was really, you know, kind of doing songs as I came upon them. So it was actually the first, uh, first show I did on NPR. It was a program called Performance Today, and it was done as a live performance show out of their DC studios. And I remember going on to that show and I played some shostakovich some Nick Drake, some Remo and some Radiohead.
[00:10:26] And subsequent to that, that was the first time I'd [00:10:30] played Radiohead on a national platform. And, you know, like a week later, the tracks that I played of Radiohead on that show were on like 130 Radiohead websites around the world. And so it was at that point that, you know, Sony called and said, 'Hmm, you know, is this something you'd be interested in recording? I said, yeah, I think so.
[00:10:50] And it was actually at that point that, you know, I'd been doing sort of, you know, sort of rough versions. I was falling back back a little bit on my old improvisitory [00:11:00] roots. And I realized, you know, if I'm going to go into the recording studio with stuff, I can't just kind of go with the muse. I really have to write these things out.
[00:11:08] So just about every one of my arrangements is completely written out. I mean, there's a little bit of improvisation when I get into things like "Everything in its Right Place". And I did sort of a loose writing out of "Gagging Order" for instance, but everything else is really notated down to the second.
[00:11:26] You know, and part of that is, is really an acknowledgement [00:11:30] of the lack of capacity of, of the piano. Because if you're just playing the harmonies, you know, like Jerry Lee Lewis or something, that's only part of it, you know, there's these sort of the overtone is the jangliness of cymbals, the, the overtones of, of, uh, electric guitar, you know, the distortion, the overtones of just acoustic guitar. That's really more than the sum of the notes.
[00:11:56] And so, you know, the, the accompaniments that I did were really sort [00:12:00] of very slowed down improvisations written out so that I would get that sort of halo of notes that were associated, but not directly with the prevailing harmony. And so it would get that sense of a little bit of, you know, extra of stuff, some spice around the edges.
[00:12:18] Savannah Wright: [00:12:18] Yeah. It's definitely a fuller sound than just if you were to write out the melody and that's why I appreciate it, but also the way I was introduced to your work was from my sister. She loves to play the piano. And so she got the, uh, the book of, I [00:12:30] think it was True Love Waits. And I remember looking at it on the page and just being like, how are you playing this?
[00:12:34] Like, it's so crazy how you, you added all of those notes and getting it down to the second. Like, what was that process like? Was it just really arduous or did you enjoy it or?
[00:12:43] Christopher O'Riley: [00:12:43] Well I loved it. You know, but it was, you know, it took. Some things took forever. Some things wrote themselves out pretty handily and pretty quickly, you know, things like "Karma Police" and "Exit Music" came together real fast, even something as complex as "Let Down", [00:13:00] because I was really just threading together these already existing lines that sort of wrote itself.
[00:13:08] Things like "2 + 2 = 5" was really arduous and, um, was pretty arduous to put together just for performance. I mean, there are some of those in that book that I don't even play anymore. "2 + 2 = 5" is really at the, at the end of my capabilities. Um, I was able to record them and, uh, and that was, that was fine.
[00:13:29] And it was also [00:13:30] partly that every arrangement that I did. And made it impossible to play for myself. I realized, okay, I can play this. And then I'd move onto the next one and it would be even harder. So it was the other, the other part of not memorizing these things was because I was sort of living in composer hell. It's like, I'm, I'm revising them every time I'm going through them. And every time I'm doing a new arrangement, I have new ideas about how to deal with old problems.
[00:13:56] There were things like, um, you know, of course I had to do "Paranoid Android". [00:14:00] Yes. Um, but there, again, you know, like in "Creep" there were lots of places where there was more noise than not. I mean, you know, uh,  'remember I remember my name'. I mean, you know, Tom's just screaming that part. There's no template on the piano that makes that happen. But at the same time, there's that screaming guitar solo at the very end in the coda that Jonny does.
[00:14:23] And so I decided to make, make a good approximation of that that then also worked pretty nicely [00:14:30] as far as approximating sort of with clusters. I mean, I'm probably better off playing it with my fists than my fingers in getting that sound of Thom's voice.
[00:14:38] Savannah Wright: [00:14:38] Yeah. Cause I saw that in another interview, you talked about using clusters to capture those solos and the shouting. And so were you really just banging your fist? Is that what it was?
[00:14:46] Christopher O'Riley: [00:14:46] Not really. Even, even there, I was way too meticulous.
[00:14:51] Savannah Wright: [00:14:51] But, so how did you capture those clusters? Like how did you choose which notes to include?
[00:14:56] Christopher O'Riley: [00:14:56] At a certain, at a certain point, you know, it, you know, I probably [00:15:00] over notated and then it was a matter of taking notes out that, you know, it was like, if you were a great sculptor. It was, it was a matter of chipping away at everything that the piece wasn't at a certain point. You know, I'd, I'd, I'd be, I'd be painting with a big brush for a while. And then I would say, okay, well fine. You know, this can't be played and it really just doesn't sound that good. So. What can we get rid of and what is essential?
[00:15:25] Savannah Wright: [00:15:25] Yeah, no, that's a good point. Um, I, I wanted to go back to also what you were saying [00:15:30] about counterpoint in Radiohead and the weaving of voices. So in OK Computer Radiohead introduced a lot more instruments, so there's even more voices to handle. So how did you decide which ones to emphasize and which to omit?
[00:15:42] Christopher O'Riley: [00:15:42] Well, for instance, again, um, "Airbag" is a good example of, you know, leading up to the last verse. There's a sort of a more noise oriented sort of improvisation. And so since I didn't want to emulate that [00:16:00] specifically, I decided to take the overall chord structure and do sort of a little riff on that, that would, that would create the same kind of ramping up of tension. Yeah, coming back into the verse.
[00:16:11] But so I was, so instead of, instead of emulating and copying the actual moment in that song itself, I was emulating sort of the dramatic shape based on materials that they had introduced at the beginning of the piece and that I had introduced at the beginning of the piece.
[00:16:27] Likewise, "Let Down" there, there are [00:16:30] some, some parts there that are more, you know, sort of electronic noise. And again, I would revert to harmony rather than, rather than noise to, to make that, make that tension happen.
[00:16:42] Savannah Wright: [00:16:42] Oh, okay. Yeah. I have to say "Let Down". It kills me every time like I hear your version of it. It's so good.
[00:16:47] Christopher O'Riley: [00:16:47] Thanks.
[00:16:48] Savannah Wright: [00:16:48] Um, so another question I had about your transcribing process is do you go through the song linearly or do you start with the chorus or how do you approach it? You talked about getting your foot in it, but.
[00:17:00] [00:17:00] Christopher O'Riley: [00:17:00] Yeah. I mean, so, so sometimes it's, it's a matter of, of the bass line or just sort of the it's mostly the accompaniment, you know, that's, that's what really gets me in the door, you know, because there's a textural thing.
[00:17:13] Like the opening riff of "Let Down", or like, uh, the opening riff of "There There". And so, so it's the accompaniment that then suggests to me a basic, like a, like a bed of, of musical material on the [00:17:30] piano. And then from there I get the melody in there.
[00:17:34] The other part of it that's fun and, and goes back to Liszt's transcribing processes, that he had a way of writing so that it sounded like he was playing with three hands or maybe four. And part of that has to do with, you know, I mean, if I were just making a transcription of a Radiohead song and just wanted to do it in piano style, I would have the melody up top, but it would just sound so silly. It would sound like, you know, a little girl [00:18:00] singing it because the, the real register is right in the middle of the piano.
[00:18:03] And so I ended up doing a sort of a Lisztian trick of, of playing the melody with the harmony on either side of it. Sort of playing with the melody with my thumbs. So it's right there in the middle. So it makes, it makes me feel like I'm playing two different hands of accompaniment and a third hand of melody. So there's a lot of, there's a lot of splitting between the hands and in that, in the real register where he sings it.
[00:18:29] So [00:18:30] that that that becomes another problem of, you know, density. And so why it's always good to try and ferret out, what is non-essential and get rid of it because it can just sound really thick. I mean, a lot of people really seem to think that, you know, my stuff is sort of overcomplicated. I've, I'm still, I'm still wrestling with texture and, and also time and, and balance so that the melody [00:19:00] is really on top.
[00:19:01] I mean, so, so when I recorded "Black Star," the melody was in there, but I don't, I don't think it was really well accented. I don't think it was really well brought out in a profile sort of way. Um, and so, you know, even in my classical playing I've striven now to make that more of a function, uh, less the exception than, than really the rule.
[00:19:23] Another thing that I, I, that I learned and actually comes around now, I think, I think the last [00:19:30] arrangement or the latest arrangement of Radiohead that I did was from A Moon Shaped Pool. I did "Glass Eyes". And what was really cool about that whole record, I think, is that it's really very, uh, free in terms of time.
[00:19:45] This goes back to like, you know, "Videotape" from what that was from, that was In Rainbows. And, and I made my arrangement originally from uh, their live version and I've recorded that one on, on [00:20:00] an album that I did, you know, compiling lots of different bands, but yeah, "Videotape" was on that record. And so that was very rhythm, tempo oriented.
[00:20:08] And then of course, when they came out with their version on the record, the drum part is completely deconstructed and really can't be approximated in terms of how you would write that down or what, what the tempo would be. It's sort of like a rhythmic fabric.
[00:20:24] And then with A Moon Shaped Pool, again, there's lots of songs that are very [00:20:30] free. I mean, they're, you can't be, it's impossible to be aware of any kind of click track. It's very, you know what we say, in the, in the, in the classical business 'rubato'. Is in other words, you have, you have an obviously underlying tempo, but you're kind of pulling it and pushing it a little bit. So it's really quite free and it would be impossible to play with a click track.
[00:20:50] And so I , I thought of that very much when I was doing my piano arrangement of "Glass Eyes" and playing it very freely. And then I remembered back to listening to [00:21:00] early edits of my True Love Waits album and figured out that yeah, the ones that uh, the takes that I really wanted to do, wanted to include, mostly had nothing to do with generating pulse or tempo. They always had to do with the shaping of the line. And it might've been just slightly out of time. But that was the stuff that sounded best.
[00:21:25] I think, you know, I think it's dangerous to get too caught up in actually, you [00:21:30] know, trying to generate excitement or generate excitement through the tempo or the pulse. And I think it's always, you know, with this music, um, which is so beautiful in terms of melody, in terms of harmony and texture, I think, I think the beat takes care of itself mostly. And, and also in the end, you're playing by yourself. So you're not, you don't have to be playing, you know, with an absolutely strict tempo. So, yeah.
[00:21:53] Savannah Wright: [00:21:53] Yeah. But then there is the instance when you did that collaboration with Matt Haimovitz. Yeah. So how did [00:22:00] that collaboration come about?
[00:22:02] Christopher O'Riley: [00:22:02] He's uh, he's a wonderful classical artist who has also been doing, uh, sort of similar, but different things that I was doing. So while I was playing Radiohead in concert halls, he was playing Bach in coffee houses and bars.
[00:22:17] And then he was also starting to do a little bit of crossover and we got together to do our first record together, Shuffle Play, Listen, sort of an homage to, you know, sort of the, the randomness of [00:22:30] playing things on shuffle on the iPod. We did a lot of, uh, we did, uh, two Radiohead songs and of course his, one of his and mine favorite were again, Mahavishnu Orchestra, John McGlaughlin.
[00:22:41] And, and so Matt was really cool because he really brought more of a classical sensibility. I was just crossing over, you know, I was just going straight into Radiohead, but he said, you know, we should think about these songs because we can't have the advantage of the lyrics and we don't want to [00:23:00] necessarily paint with music, the meaning of the lyrics, because that would sound sort of melodramatic and silly.
[00:23:07] But when, when you're playing a classical Sonata, for instance, a Sonata movement you're presented with the themes and then they mix it up a little bit and they develop, and then they, the recapitulation is when those themes come back. And usually when you come to the recapitulation, there's some sense of evolution. Something has changed in this dialogue, in the rhetoric of, [00:23:30] of the two themes mixing and developing that makes, even if it's an absolutely strict return transcription of the original theme, you have to have a sense that something has changed. Something has grown.
[00:23:44] So he was really cool about getting that sense in these Radiohead songs that the final return of the verse really has to be different, not in terms of how we write it out, but in terms of how we're feeling when we're doing it. So that was a really cool insight that he had. And, and so [00:24:00] we've kind of continued that with our work together.
[00:24:01] So yeah, we, we literally had our first concert together oh, it must be 10 or 12 years ago by now, uh, in Billings, Montana. And we had very little contact up until that point. I was living in Cleveland at the time and he was playing a festival there and we had sort of early versions of a couple of songs that we were doing, but we really brought the whole concert's worth of stuff to Billings and they gave us four days on stage before the concert.
[00:24:30] [00:24:30] And he and I just worked for 12, 14 hours a day. And what was so cool was that it never felt like work. It just felt like we were just so, so into it and we just loved doing it. And so, yeah, we've been working together ever since.
[00:24:44] We're, we're now doing another transcription project, uh, project. Um, there was a, there was a thing a few years back with, um, the American composer, John Corigliano. He, he did the, a soundtrack to Altered States for [00:25:00] instance, and he had some mostly classical background and he was commissioned to do re settings of Bob Dylan songs. So in other words, these were lyrics of songs that he had not heard. But he was commissioned to make his own songs based on lyrics in his own style. So that was kind of a cool project.
[00:25:22] And so a friend of ours, Lisa Dylon, uh, soprano wanted to do sort of the same thing with us and with a few different bands and a [00:25:30] few different composers.  So John Corigliano, uh, got on board with us again. We, she wanted us, Lisa wanted us to do a Joni Mitchell song, "The Wolf that Lives in Lindsey." And so John reset that.
[00:25:41] And so for all of the original songs, I'm doing the arrangement for cello and piano. And so that's like seven songs, probably the most interesting, I think would, you know, would you'd know of course The Velvet Underground song, "Venus in Furs," and guess who we're getting to do the [00:26:00] reset on that, but none, none other than Philip Glass.
[00:26:03] So yeah. Pretty cool.
[00:26:04] Savannah Wright: [00:26:04] Yeah. That is a cool project. So when you and Matt were working together, you said that he had, um, input on how you arranged it, making sure that the final chorus had something different. So would you present him your arrangement and then okay and then he would add what he thought?
[00:26:21] Christopher O'Riley: [00:26:21] Yeah, there was, it was because a lot of times I would be asking him to go back and forth in the role of carrying the [00:26:30] melody, but then also pitching in and doing things with the accompaniment texture.
[00:26:35] And so invariably I would, I would present him with what I thought would be good enough to, you know, kind of get us through the song. And then he gets in there and as unplayable as whatever I sent him would be, he would make it even more unplayable.
[00:26:49] But what was really cool was how he was able to inhabit each one of the singers. We did a piece by the Cocteau Twins, a couple of pieces by Cocteau Twins, and [00:27:00] he was able to make Elizabeth Frazier's voice come alive on the cello by sort of playing in unison on a couple of different strings, but slightly out of phase. So that had that sort of coursing effect that she always has on her recordings, even to the point where, you know, The Times, The Times critic, you know, would say 'well, you know, they did pretty well on their own, but they had to resort to, you know, effects pedals on this one song.'
[00:27:27] And it's like, no, dude, that's all him!
[00:27:31] [00:27:30] Savannah Wright: [00:27:31] That's really impressive. Um, how did it, how else did it change the way that you transcribed it? Because you said before, it was just you and your piano, and now you have someone else you have to work with and you also have to figure out how to time it correctly and stay in sync. So how did that affect your transcription process?
[00:27:47] Christopher O'Riley: [00:27:47] Well, it actually makes it a lot easier because you know, the cello is a real lyrical instrument.  The things sings. I mean, the one time, the one time that I had a long [00:28:00] conversation with Thom Yorke was just after my True Love Waits came out and we were backstage at Madison Square Garden. And he was very self-deprecating and, and, uh, I.
[00:28:08] You know, for instance, I was saying, you know, I was working on, uh, an arrangement of "Lift," which existed in a 1997 version and then in a new version that they were, you know, trotting out in 2003. And so I said, 'You know I'm sticking to the older version.' He said, Oh yeah, that's a good idea because the old, the new one's crap.' And then, then I said, 'you know, "Pyramid Song" is [00:28:30] obviously the most quintessentially piano vocal song in your repertoire, but I could never imagine doing it without, you know, you, the sound of your voice.' He said, 'you mean without me screwing it up." He didn't, he didn't say screwing.
[00:28:43] Savannah Wright: [00:28:43] Right?
[00:28:45] Christopher O'Riley: [00:28:45] So having Matt finally, you know, then I could finally do "Pyramid Song" because I had a singing instrument to play it with. It's very, it's very difficult synchronizing just on that particular song, because the rhythm is very,  is very difficult. It's [00:29:00] a, what we call a hemiola, sort of when you have, uh, a six beat pattern, let's say, and it can be distributed either in three groups of two or two groups of three. Um, and it's not quite that simple, but "Pyramid Song" has that kind of syncopation that goes over several bar lines and finally lines up again at the end or towards, you know, after four bars or whatever. It's literally in four four, but it's very hard to hear it that [00:29:30] way.
[00:29:30] Um, and it also doesn't help that, you know, Phil Selway actually said in an interview, 'Oh, it really doesn't. It's not in any particular time signature.' It really is. I've got, I've got the receipts.
[00:29:42] Savannah Wright: [00:29:42] Yeah. Well, so can you walk me through a little bit more about Pyramid Song? Like how you, how you put that together? Cause that one really stood out to me. Also " Weird Fishes Arpeggi". That was like, could you tell me how, um, Matt did, is he, it's just one instrument. Like there's no layering? Okay. Because I felt like [00:30:00] I was hearing  three different kind of like ambient strings.
[00:30:03] Christopher O'Riley: [00:30:03] Well, we've got those sort of the, the sort of Bollywood string sounds that, that, uh, pervade, that song and that Matt is using. He's sliding between artificial harmonics. So he's not those. That's when you're not pressing the string down, you're just touching it at places that resonate just naturally because of the overtone series.
[00:30:25] Um, if you just press one note. Not press a note down on the, on the string. You, [00:30:30] you actually touch the note in a certain place, it makes that high pitched sound because you're basically touching a node that is halfway from one end of the string to another. And that there are several nodes along those lines.
[00:30:44] Um, artificial harmonics is you, when you're, you're creating with your thumb, you're creating an artificial node and then just sliding up with that, with that perfect sort of sound. And so then you can play any note, you know, along the string. And so that's [00:31:00] what. That's him, you know, sliding up and down. And there are some, you know, effects, uh, that are not melodic but effects that are basically drawn from that technique that he also uses a lot in the song.
[00:31:11] Savannah Wright: [00:31:11] Oh, okay. Yeah. I was always fascinated by that timbre. I couldn't figure out what he was doing. So thank you for explaining that. So, Oh, this was a question that, uh, Vik actually had when you're performing these transcriptions of Radiohead. Are you thinking of the originals in your head or are you just focused on the way that you transcribed it?
[00:31:28] Christopher O'Riley: [00:31:28] I'm, I'm [00:31:30] thinking always about the originals and because I'm because I'm, I've really tried to get as close to the originals as possible. I mean, as I, as I said, if I, if I came up with a song, an arrangement of which I felt like, 'Oh, well this part really just sounds kind of lame. So no, maybe they'll just trust me to get through this.' I would just not do it.
[00:31:51] You know, I just, I always have to come up with some kind of solution for every second of the song. The interesting thing though, is about, [00:32:00] I think back to the first big Radiohead concert I did was, which was at UC Berkeley. And I I'd already had people saying to me, well, you know, like, 'Who needs to hear you play Radiohead on the piano? I mean, I can download that stuff in about 30 seconds.'
[00:32:17] And that brings up like the whole idea of interpretation from the classical world. In other words, I played, uh, another concert and, in uh, Munich many years ago. And of course [00:32:30] they are a very schooled audience. And I always remember I was playing Debussy and I was playing Schubert and there was a quality of concentrated silence in this audience, which was to say that, yeah, they knew how the Schubert D major Sonata went. They know how the Debussy Image Book Two goes. They didn't come to my concert to hear the piece. They came to hear what I was going to do with the piece. And that's, that's what an interpretation is that, you know, otherwise there would be [00:33:00] no reason to play any of these old pieces even.
[00:33:03] And so at Berkeley. Fast forward, you know, I would start a song and there would be this murmuring of recognition in the audience about what song it was. And then they were hunkered down because yeah, they knew the song real well. They're they're hearing what I'm going to do with it. Yeah. Well, I don't think I answered your question though.
[00:33:23] That just kind of got me off on a tangent.
[00:33:24] Savannah Wright: [00:33:24] Yeah. It was very informative, but also, yeah, you kind of answered it at the beginning when you're, you're always thinking of the original when you're [00:33:30] playing. So, um, that makes sense. Um, yeah, you've mentioned this briefly, but just if you could. Uh, I guess define it again.
[00:33:37] In a Q on CBC interview, you talked about how you used overtones to, um, I guess so it wasn't just a straight, um, translation. So can you briefly explain, uh, how you picked out those overtones?
[00:33:51] Christopher O'Riley: [00:33:51] Well, mostly it's it's from, um, when I was explaining about the, the, uh, harmonics on the cello being a [00:34:00] naturally recurring phenomenon. If you just play, if you play one note on the piano and then you touch it. Touch the string halfway through you get an octave and with the overtone series, as you go higher and higher, it goes, you know, octive, fifth, fourth, third, and then it starts getting a little, you know, iffy.
[00:34:19] And you get into these, these notes that are not necessarily part of the overall chord. Hmm, but are still part of the scale of that cord. And so those would be [00:34:30] the, those would be the notes that I would try and Institute, you know, sort of at the higher end of the piano register mostly so that I wasn't just playing, you know, sort of unisons and block chords, but that I would play there would be, you know, I think it probably was part of my attitude of like 10 fingers, no waiting, you know. I wanted it to all have all my fingers, uh, engaged at all times.
[00:34:53] And so that made these and, and also a lot of, a lot of it really has it's to do with [00:35:00] making those overtones, making those notes that don't really belong with the chord, just making them sort of paranthetically so that they don't, you know, they don't sound wrong. They just sound sort of extra, sort of halo-like.
[00:35:13] Savannah Wright: [00:35:13] Yeah. Yeah to fill it out. I like that. Um, so what was different about transcribing Radiohead's music versus Nick Drake or Elliot Smith?
[00:35:21] Christopher O'Riley: [00:35:21] Drake was, you know, the cool thing there was that, you know, for every song he had a particular tuning. I mean, guitar players are still, you know, ferreting out you [00:35:30] know what exact tuning he was using for which song.
[00:35:33] And what was nice was because again, I didn't want to fall back on just following the whim of my fingers. I had, I didn't have to figure out what the tuning was, but I had, I decided to really keep very strictly to the patterning of his accompaniments and set them straight down on piano and then work directly from there. So that, that was, you know, in a way working with Nick's music was, was easier [00:36:00] because it was really always a voice. And guitar and the guitar, the guitar patterns were really very well set out. And so I mostly, you know, kept very strictly to those patterns.
[00:36:12] With Elliot, you know, I have, you know, I have as many live concerts of Elliot Smith on my iPods as I do Radiohead. And, and actually, you know, I don't know why I have to have so many Radiohead, uh, concerts and shows because they're really a very tightly rehearsed band. [00:36:30] They're not like a jam band, you know, they really, you know, it's, it's, it's only a matter of like how on they are. It doesn't really change the song itself. With Elliott, there were differences, big differences between the heavily produced studio versions of his songs, the band live versions of his songs, and then the solo versions of his songs.
[00:36:53] So with Elliot, I had a lot of choice, a lot of material from which to choose and decide how I wanted to [00:37:00] best approach each of those songs or, or incorporate all of the material just in different verses.
[00:37:06] Savannah Wright: [00:37:06] Oh, that's fascinating. If this was also about Elliot Smith, I would go even deeper into that.
[00:37:10] Christopher O'Riley: [00:37:10] I know I love Elliott and, and, um, I never, I never got to meet him. I never got to see him play live. I got to know Elliot's dad and step-mom pretty well. And they were, they came to my concert. I did an  all Elliot concert a few years back at the Getty [00:37:30] museum. And or at the, the Skidmore center or what is it? I forget Skirball Skirball at the Skirball Center, and they came down from Portland and, uh, that was an amazing experience.
[00:37:44] Savannah Wright: [00:37:44] Wow. That's neat. You got to meet them. Um, so did you, I think you mentioned a little bit about this, but I guess we'll come back to it anyway. Did you encounter some similar patterns between the work of Radiohead and another classical composer composition that you're familiar with?
[00:37:59] Christopher O'Riley: [00:37:59] You know, [00:38:00] that's an interesting question because there are some things that I brought to my Radiohead arrangements that came from other classical composers.
[00:38:10] There's the texture of "There there" is, in retrospect, based on a very particularly thorough part of, one of the hardest concertos that I played, were Kafiev's second concerto. I think there's a lot of, a lot of material in "Subterranean Homesick Alien" that reminds me, [00:38:30] first of all, it reminds me a little bit of Miles Davis in the modern era, and also, um, makes me, makes me think of Debussy and I was  thinking about Debussy when I was working on it.
[00:38:40] Of course. And it wasn't until many years later after I'd done both "Subterranean Homesick Alien" and Nick Drake's "Parasite" that I realized that aside from the intro and outro of "Subterranean Homesick Alien" it's Nick's song.
[00:38:55] Savannah Wright: [00:38:55] Oh really?
[00:38:56] Christopher O'Riley: [00:38:56] Yeah. It's totally, it's totally the same.
[00:38:59] Savannah Wright: [00:38:59] I've [00:39:00] never compared the two.
[00:39:00] Christopher O'Riley: [00:39:00] Oh, check it out.
[00:39:02] Savannah Wright: [00:39:02] Here's a quick comparison between O'Riley's interpretation of "Parasite".
[00:39:08] And "Subterranean Homesick Alien."
[00:39:27] I must say I was skeptical, but it's true. There are [00:39:30] some striking similarities here.
[00:39:32] And what is it about Radiohead's work that you believe allows it to bridge rock and classical?
[00:39:38] Christopher O'Riley: [00:39:38] I think for, for the, the two main aspects that again, compel me to play any music that I play, whether it's classical or Radiohead or whatever, but yeah, again, the, the idea of, of really central harmony. And really sort of engaging and intricate texture and counterpoint and the [00:40:00] interweaving of voices. Right? So those are really the two to two things that really make me want to play any kind of music and, and certainly are they're in, in very rich quality and quantity and Radiohead's music.
[00:40:15] Savannah Wright: [00:40:15] So you talked a little bit about, um, some pieces that were difficult to share and transcribe. Was there one that you found the most challenging?
[00:40:24] Christopher O'Riley: [00:40:24] I think that would definitely be "2 + 2 = 5". . That's just like so complicated [00:40:30] and so busy. Um, there were some things that were technologically difficult. Um, there were lots of tries during "Motion Picture Soundtrack" to get all of those harp glissandos noted, noted on paper. And there were several times when I would just like put one note too many and the computer would just blow up. I mean, it would just like strew  notes all over my screen. And I'd have to start again.
[00:41:00] [00:41:00] Savannah Wright: [00:41:00] Was that just a program error or?
[00:41:01] Christopher O'Riley: [00:41:01] Yeah. Program error yeah, just too much, too much information, too much data.
[00:41:07] Savannah Wright: [00:41:07] And so for "2 + 2", was it because it has that really, uh, intense. I guess in literature, because I'm a literature major, it's like a Volta where all of a sudden he's just yelling. Is that because it was, is that why it was so difficult?
[00:41:20] Christopher O'Riley: [00:41:20] Not the yelling so much, but the, the really intricate guitar part at the very beginning.
[00:41:25] Savannah Wright: [00:41:25] Oh at the beginning?
[00:41:26] Christopher O'Riley: [00:41:26] At the beginning, rhythmically and, and just dense. [00:41:30] In, out of density.
[00:41:31] Savannah Wright: [00:41:31] Oh, okay.
[00:41:32] Christopher O'Riley: [00:41:32] It was, that was the really hardest thing to, to really get. And I think that comes again towards the more climactic ending as well. Just really thick and, and coming really hard and fast. Yeah.
[00:41:44] Savannah Wright: [00:41:44] Yeah. It is quite fast. That's true. Uh, was there a piece that was your favorite to transcribe or you found the most fulfilling?
[00:41:51] Christopher O'Riley: [00:41:51] Well, for a long time, it was "Let Down." And then lately, you know, as I said, I just recently did a "Glass Eyes," and that one [00:42:00] to me, it was, it was so great and so much fun because I literally just started out with Thom's opening piano riff. And that's the other thing about, you know, that I love so much about that record, you know, A Moon Shaped Pool, like there's so much piano playing on that record. Um, Uh, you're welcome, Thom.
[00:42:21] And, and so again, I just, I took his opening riff and then I never looked back. I wasn't, I wasn't transcribing any of the rest of that song. It [00:42:30] was just, I was using the harmony and was kind of letting my fingers do the walking that, so that was, you know, "Let Down" used to be the most fun to transcribe. And now I'd have to say  "Glass Eyes" is my new favorite.
[00:42:43] Savannah Wright: [00:42:43] Hmm. So I didn't know that you had recorded "Glass Eyes". What record is it on?
[00:42:47] Christopher O'Riley: [00:42:47] It's not on any record. You can find it, you can find it on my website, christopheroriley.com. And there are lots of, um, I mean, cause I did two whole records of Radiohead, um, True Love Waits and then the other one is Hold Me [00:43:00] To This.
[00:43:01] And then subsequent to that, I did a record that had all kinds of bands on it. You know, Pink Floyd, Nirvana, Tori Amos, Cocteau Twins, The Smiths. Various people. And there were two Radiohead songs on an album called Out of My Hands. Right. And so that had "Videotape" and "All I Need."
[00:43:22] Okay. So aside from that, there are still a bunch of others, mostly of other bands, but I [00:43:30] think there are a couple of, a couple of Radiohead songs that have not yet recorded commercially.
[00:43:35] Okay. There are some that are available as like singles. You know, for instance, I did, based on the Christmas webcast of many years ago, I loved Thom's solo version of "Good morning, Mr. Magpie," and as I said, you know, I also did "Lift".
[00:43:50] Um, and when I sent final tracks of Hold Me To This to the band, you know, to get the okay, they said, 'well, thanks for sending [00:44:00] your, you know, latest stuff. It's really great. Unfortunately "Lift" and "Good Morning, Mr. Magpie" have not been commercially released by the band themselves. And so they're not available for you to cover.'
[00:44:12] So subsequent to that, of course, you know, because I'd already recorded them, uh, "Good Morning, Mr. Magpie" showed up in a rather different version on one of the later records. So I was able to release that still. Haven't still, haven't been able to get "Lift" out.
[00:44:27] Savannah Wright: [00:44:27] So with a song like "Good Morning, Mr. [00:44:30] Magpie" and other tracks of the King of Limbs, is that the only King of Limbs song that you've done? So how did you approach that? Because I feel like King of Limbs is so rhythmically layered that it would be kind of difficult to transcribe.
[00:44:40] Christopher O'Riley: [00:44:40] Well, as I said, "Good Morning, Mr. Magpie" you need to go back to, um, the Christmas webcast version. It's based, purely on that, because that was just guitar and voice and, uh, really chugging along pretty, you know, pretty muscularly, um, sort of like, [00:45:00] uh, like, uh, "Polyethylene Part II", which I've also done. But yeah, that, that was strictly from that just, you know, home done.
[00:45:10] Savannah Wright: [00:45:10] Okay. So do you think you would want to do any King of Limbs tracks or do you think they just don't. They're not?
[00:45:14] Christopher O'Riley: [00:45:14] I'm not a big fan of that record.
[00:45:16] Savannah Wright: [00:45:16] Yeah. It's kind of controversial for a lot of other fans, so that's not just you. What about A Moon Shaped Pool? Are there any other songs that you'd be interested in transcribing from that one or?
[00:45:25] Christopher O'Riley: [00:45:25] They're a couple, but, but "Glass Eyes" was the one I felt best about. And so that's the only one [00:45:30] I've done from that record. Um, "Codex" would be another really cool one to do. I actually liked, um, I didn't like the soundtrack, but I loved the opening, uh, credits, uh, song that Thom did for Suspiria. That's pretty cool song.
[00:45:46] In, you know, in general, I, I like, you know, and I've, I've done other songs, like from The Eraser, uh,
[00:45:54] Savannah Wright: [00:45:54] Oh, you have?
[00:45:55] Christopher O'Riley: [00:45:55] Yeah, I haven't, I haven't commercially recorded, but I did at least one. [00:46:00] The thing with me is that I really like his songwriting. Like, man, I just love his songwriting. And so there were things I think even with, you know, as, as much as I didn't like King of Limbs, wasn't there, uh, In the Basement version of, of that record or another one of those records that there you are, you know, with Thom and Jonny just playing these, you know, studio versions of these songs.
[00:46:26] And that's great. You know, it's like they get so up [00:46:30] themselves when they get into, you know, I mean, you know, Thom with his beatboxing and, and the, the over, over technical, over technologically, you know, sort of embroidered versions of these songs. At basis, you know, the, the songs are really great.
[00:46:46] Savannah Wright: [00:46:46] Right.
[00:46:47] Christopher O'Riley: [00:46:47] I mean, you know, the only one that. Yeah. And, and again, you know, this was another technological choice, but I thought it was a brilliant one. Way back on Amnesiac, I believe, you know, it was "Like Spinning Plates." I've made my version [00:47:00] based, purely on his live version. But, um, but I think the, you know, the backwards singing and, and the way they did that, that's, you know, that I think serves the song. It's, doesn't just, you know, it doesn't seem as self-indulgent as a lot of the later stuff.
[00:47:16] Savannah Wright: [00:47:16] So if you were to do another Radiohead collaboration with another musician in the future. Who would you choose? Would you choose a different, um, instrument besides cello?
[00:47:26] Christopher O'Riley: [00:47:26] I would continue with Matt. Matt's really, Matt's really got the best of both [00:47:30] worlds.
[00:47:30] I also, you know, I've come to know that or I thought I knew that there wasn't really another band that I would do like a whole record of, and that's kind of why I did it. Out of My Hands was because I was, I just had all these other bands that. I never thought I'd play a Nirvana song, but, you know, "Heart Shaped Box" was, you know, I had a really good solution for that.
[00:47:51] And, um, Tori Amos, you know, I learned a lot about playing Radiohead from listening to the way the Tori accompanied herself on the [00:48:00] piano. You know, a lot of the sort of shadowing of her voice on the piano was really instructive about how to play all kinds of music on the piano.
[00:48:09] Um, but recently I think maybe three or four years ago, I happened upon, uh, the music of Mark Kozelek of Sun Kil Moon. And he, again, you know, brilliant guitar player, brilliant songwriter, great harmonies, great texture. I could easily do a whole Sun Kil Moon record. I've done. I've done like [00:48:30] most of a record's worth now.
[00:48:32] Savannah Wright: [00:48:32] Do you think you might release it?
[00:48:34] Christopher O'Riley: [00:48:34] I'd have to record it and find a place for it first. Yeah. Yeah, but I've done. I've done a couple of, of violin and piano arrangements. I've done three violin piano and cello versions of his songs and a good deal of his, of his solo stuff. Yeah. And as, as, as with everything, it comes from the piano.
[00:48:55] You know, when he did, uh, Red House Painters. They're, one of their first records [00:49:00] had two versions of the song "Mistress" on it. One was the band version and the other one was him. And it's the only song that Mark has done with piano and playing piano. And so that's, that's where I got my, got my foot in the door, on that music.
[00:49:16] Savannah Wright: [00:49:16] Nice. Um, so do you think you're done with Radiohead for the future, or do you have any other Radiohead centric projects?
[00:49:22] Christopher O'Riley: [00:49:22] For the time, time being, you know, I'm, I. You know, if I, if I were going to do another, you know, there are still, you know, there's still a to-do list. You [00:49:30] know, I never got around to "My Iron Lung". That would be such a great song to do. There's still lots of songs that I would love to do, you know . Yeah, there's still a few that. Well, and, and I did a piano arrangement of "Arpeggi" and thank goodness that I had an extra set of hands with Matt so that I could actually do a decent version or a playable version.
[00:49:48] So, you know, there might be a few that, you know, we could do together. Might be a couple that I, you know, I think, uh, that song from Suspiria might be nice as a solo piano thing.
[00:49:59] Savannah Wright: [00:49:59] Yeah, I would [00:50:00] love to hear all of those. So I hope you do them. Um, and this is the final round, the lightning round. Favorite Radiohead album and why?
[00:50:08] Christopher O'Riley: [00:50:08] Very hard because you know, the, the thing that I love most about Radiohead is the through thorough going quality of every record that there's not really a bad, a weak track. Although, you know, OK Computer was my favorite for a long time, I can never listen through to "Electioneering". I don't, I just no I don't like the song.
[00:50:30] [00:50:30] And so with that in mind, uh, Kid A was my favorite for a long time. And then In Rainbows became my favorite. Oh, okay. Yeah. So I think In Rainbows is definitely the one and why. Just the, the songwriting and the lushness of the textures and the integrity of the textures. It's not too up itself, you know, too. It really sounds like this is the way these songs are supposed to go.
[00:50:55] And of course we heard, we heard a lot of those songs on tour before [00:51:00] they, before they were, did them. Right. And, and the studio version is the better version, which is the most telling for me, No. So I think In Rainbows was my all-time favorite.
[00:51:11] Savannah Wright: [00:51:11] That's fair.
[00:51:12] Um, this, it might be the same album might be a different album when you're introducing a friend to Radiohead for the first time, which album do you recommend?
[00:51:21] Christopher O'Riley: [00:51:21] Probably OK computer. Okay. I think, cause they're there, first of all, there are a bunch of recognizable songs and that was the first record that I [00:51:30] was introduced to.
[00:51:30] So I go with that one.
[00:51:32] Savannah Wright: [00:51:32] That's a good one. Yeah, can't go wrong. So. You mentioned this a little bit, that one thing you lose in transcribing Radiohead for piano, or just instrumental, that you lose the lyrics. Do you have a favorite Radiohead lyric?
[00:51:45] Christopher O'Riley: [00:51:45] No, but it's funny. There was something on Twitter the other day.
[00:51:48] Somebody just like randomly put up that there was a robot that was, you know, sort of vandalized on the street. It was a robot that was walking through the streets of Philadelphia and had been [00:52:00] vandalized. Another one, another robot, somewhere else that had been put, uh, sort of with, you know, deep fat sort of as if it coated with deep fat as if they were going to put it into a fryer and the guy tweeting this, it was, there was another robot mishap or vandalism sort of thing. And the guy that tweeted, it said 'I'm really loving the new Radiohead single.'
[00:52:24] Savannah Wright: [00:52:24] That's a gem. Um, so the last question, this is another kind of [00:52:30] heavy one. Why do you think Radiohead's music will stand the test of time?
[00:52:33] Christopher O'Riley: [00:52:33] Because I think, you know, as with, as with any great classical music, I think it draws on not just its own time, but everything that's come up before it, and you know, presages a lot of what can come after it.
[00:52:50] So it's the combination of an acknowledgement of a lot of music history and a lot of history in and of itself. Literary history, uh, I [00:53:00] think Thom's a very literate guy. Right. And so I think that, that there's a sort of a universality as sort of a, every man, but sort of, of a much deeper sort of every man kind of thing.
[00:53:11] Like, you know, I mean, he, he would say that he was overhearing conversations on a bus and that, that might contribute to his, you know, his songwriting so that, you know, it's. It's not autobiographical. It's really sort of like through Robert Altman's, you know, sort of floating window, you know, sort of a [00:53:30] dispassionate observer, but taking it all in and really making something, something new of it.
[00:53:36] And, and, and so, and again, musically comprehensively embracing a lot of musical tradition and making something new of it, I think makes it last.
[00:53:48] Savannah Wright: [00:53:48] Yeah. Well, thank you, Christopher. Thank you for coming on.
[00:53:52] Christopher O'Riley: [00:53:52] Great pleasure. Thank you.
[00:53:53] Savannah Wright: [00:53:53] Did I not ask you anything that you wanted to comment?
[00:53:55] Christopher O'Riley: [00:53:55] No, I think I, I think I picked it up and ran with it anytime I found a [00:54:00] tangent that I really wanted to hit.
[00:54:01] Savannah Wright: [00:54:01] Yeah. Thanks. Excellent.
[00:54:04] Christopher O'Riley: [00:54:04] Thank you.
[00:54:06] Savannah Wright: [00:54:06] You've been listening to Fake Plastic Podcast. Fake Plastic Podcast is an Alternate Thursdays production with new episodes every other Wednesday. You can find us on Instagram or Twitter @fakeplasticpod. If you enjoyed this episode, please subscribe on Apple podcasts or wherever you listen. And if you really liked this episode, please leave a review and share with your friends, [00:54:30] Radiohead fans, or otherwise. I'm Savannah Wright. Thanks for listening.