![Scott Pilgrim vs. The World [Score] [Original Motion Picture Soundtrack]](data:image/gif;base64,R0lGODlhAQABAIAAAAAAAP///yH5BAEAAAAALAAAAAABAAEAAAIBRAA7 "Scott Pilgrim vs. The World [Score] [Original Motion Picture Soundtrack]")
2010
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3 days ago · A whole album of songs in that breathless uptempo mode would be an instant classic, and Cutouts gets about halfway there. But the band seems interested in exploring all sides of Yorke’s ...
1 day ago · When Beck and Godrich pour on the Indo-Beatles chaos in “Sunday Sun” — ghostly pounding piano and not-so-unison guitar; a meltdown coda of drums and distortion — you can still hear Beck’s resignation and unsteady resurrection inside the song. 3. In 1001 Albums You Must Hear Before You Die, Mark Bennett wrote:
1 day ago · They released their fifth album, “Tangk,” in February, and quickly scaled up in profile. By inviting Radiohead producer Nigel Godrich and hip-hop mastermind Kenny Beats to co-produce the record with Bowen, the team played on a deeper sonic canvas than previous albums, letting songs breathe and the hooks get funkier in ways that still felt punk, all while getting invited to play on mainstream platforms like “The Tonight Show Starring Jimmy Fallon.”
1 day ago · Yorke has worked with the producer Nigel Godrich on most of his projects, including Radiohead, Atoms for Peace, the Smile and most of his solo work. [164] Yorke credits Godrich with helping edit his work, identifying which parts need improvement and which have potential. [164]
3 days ago · According to the album's producer, Nigel Godrich, "It could be an effective way of handing some control of Internet commerce back to people who are creating the work." In just over a week, the album averages 1.8 million downloads.
5 days ago · And, in moves to make the improvements as seamless and popular as possible (following objections to the sale from the likes of Portishead’s Geoff Barrow and producer Nigel Godrich at the time) the group is seeking feedback on its plans.
3 days ago · At the suggestion of Radiohead's producer, Nigel Godrich, Greenwood began using the music programming language Max. [130] He found it liberating to abandon existing notions of audio effects and create his own from scratch, thinking "in terms of sound and maths". [11]
