Latest news with #TallTales
Perth Now
3 days ago
- Entertainment
- Perth Now
Radiohead singer Thom Yorke says AI does nothing more than steal from human artistic expression
Radiohead's Thom Yorke says artificial intelligence does nothing more than "steal" from original human artistic work. The 56-year-old songwriter – who has just released his first full-length electronic album 'Tall Tales', a collaboration with Mark Pritchard – is against the onslaught of AI in the music business and other creative industries. Thom insists the technology is stealing musicians' ideas with no financial reimbursement. Speaking to Electronic Sound magazine, Thom said: 'As far as I can tell in music and art and all creative industries, Al is so far only able to 'create' variations on genuine human artistic expression, and those are obvious. Is Al capable of genuine original creative thought? I have yet to see that. It analyses and steals and builds iterations without acknowledging the original human work it analysed. It creates pallid facsimiles, which is useful in the same way auto-accompaniment is useful, or a screensaver of a beautiful natural landscape in a billionaire's bunker is. "But the economic structure is morally wrong ... the human work used by AI to fake its creativity is not being acknowledged. Writers are not paid. It's a weird kind of wanky, tech-bro nightmare future, and it seems this is what the tech industry does best. A devaluing of the rest of humanity, other than themselves, hidden behind tech. In the US right now, we are witnessing this spilling over into politics. 'We are. in modern parlance. 'creatives. which is a term I find deeply offensive because it arrived around the time that art morphed into 'content' for devices.' Yorke - who also fronts The Smile - was one of 10,500 signatories, which also included Abba's Björn Ulvaeus, actress Julianne Moore, The Cure's Robert Smith and Rosario Dawson, from the creative industries warning artificial intelligence companies that unlicensed use of their work is a 'major, unjust threat' to artists' livelihoods. The statement read: "The unlicensed use of creative works for training generative AI is a major, unjust threat to the livelihoods of the people behind those works, and must not be permitted." The organiser of the statement was the British composer and former AI executive Ed Newton-Rex, who resigned from his role as head of audio at tech firm Stability AI last year due to a disagreement with the higher-ups that that taking copyrighted content to train AI models without a licence constitutes 'fair use', a term meaning permission from the copyright owner is not needed."
Yahoo
5 days ago
- Entertainment
- Yahoo
Thom Yorke Releases ‘Dialing In' as Theme to Apple TV+ Series ‘Smoke'
Radiohead frontman Thom Yorke has unveiled a new song, with 'Dialing In' serving as the theme to Apple TV+'s forthcoming series Smoke. Released on Wednesday (May 28), and recorded with Sam Petts-Davies, the haunting track presents a dark and brooding atmosphere as Yorke's trademark vocals warmly accompany a tender and eclectic musical bed. More from Billboard Zak Starkey Rubbishes Reports He Retired from The Who, Insists He Was 'Fired' Lorde Makes Surprise Appearance at Aotearoa Music Awards Bone Thugs-N-Harmony Perform 1996 Hit 'Tha Crossroads' on 'Everybody's Live' The song also soundtracks the recently-released trailer for Smoke, which – according to a descriptor – follows Taron Egerton and Jurnee Smollett as they 'attempt to get as close to the truth as possible—without getting burned.' For diehard fans, 'Dialing In' won't be an entirely new experience, with its origins being found in Yorke's unreleased track 'Gawpers,' which had been performed during a run of European dates in 2019, but has since evolved before its 2025 release date. Yorke announced the release of 'Dialing In' by noting on social media that the track is 'now available to stream on your least crap streaming service.' According to the song's credits on Tidal, Yorke's daughter Agnes is also featured as a backing vocalist. 'Working with Thom Yorke was as much an honour for me as working with Clint Eastwood, Martin Scorsese or Richard Price,' said Dennis Lehane, Smoke creator and executive producer. 'I've somehow been blessed with collaborating with living legends who were also formative influences on my own creative life. Thom is definitely that. 'In addition, he took a basic concept I gave him and delivered a song that perfectly embodies the show and absolutely crushes.' 'Dialing In' is the latest release from Yorke this month, who also released the album Tall Tales, created alongside Mark Pritchard, on May 9. 'Mark sent me a large file of MP3s of ideas during lockdown,' Yorke explained of their long-distance collaboration. 'There were so many great ones, I knew straight away that I had to drop what I was doing. It felt very much that I had not been anywhere like this before — both as soon as I put my headphones on and started trying to find the vocals, words and sounds, but also, as it progressed, watching Jonathan [Zawada] respond so freely and spontaneously with all his video and artwork ideas. 'It was mental, and I feel lucky to have been involved,' he added. 'Tall Tales is very important to me. I hope people get it, and get to hear it!' Listen to 'Dialing In' below: Best of Billboard Chart Rewind: In 1989, New Kids on the Block Were 'Hangin' Tough' at No. 1 Janet Jackson's Biggest Billboard Hot 100 Hits H.E.R. & Chris Brown 'Come Through' to No. 1 on Adult R&B Airplay Chart
Winnipeg Free Press
09-05-2025
- Entertainment
- Winnipeg Free Press
New music: Thom Yorke and Mark Pritchard, PUP, Phil Haynes & Ben Monder, Borusan Istanbul Philharmonic Orchestra
Thom Yorke and Mark Pritchard Tall Tales (Warp) Tall Tales, the first full-length collaboration between Radiohead singer Thom Yorke and electronic music pioneer Mark Pritchard, captures two prolific artists without much to prove and whole worlds left to explore. Tall Tales captures their shared, endearing spirit of experimentation in a collection of dystopian, prog electronics that will satisfy fans of both artists. Across the album, Pritchard's inventive productions and use of vintage electronic instruments serve as a perfect foil for Yorke's darker lyrics and mournful vocals. The opening track, A Fake in a Faker's World, serves as a mission statement. There, Pritchard presents a whirlwind of digital sounds, with Yorke's human voice the sole organic element. A strong middle section begins with Back in the Game. The opening lyrics evoke the project's genesis during the pandemic: 'Have you missed me? How've you been? Back to 2020 again.' As in so much of Yorke's work, the track blends emotional despair with an infectious musicality. It is anchored by the album's two catchiest tracks. Gangsters evokes 1980s video games with its use of a Mattel Bee Gees rhythm machine. This Conversation Is Missing Your Voice follows with a propulsive electronic-pop energy that falls somewhere between Gorillaz and Squeeze. The late songs gradually add analog instruments to the mix, and by the finale, Wandering Genie, the initial musical premise seems almost inverted: In the beginning, Yorke's voice was the only organic sound; by the end, it's all recognizable instruments and his voice has been digitized beyond recognition. Atop analog flute, bassoon and pipe organ, a mechanical Yorke brings the journey to its coda, repeating the single lyric, 'I am falling.' And in 2020, who wasn't? ★★★★★ out of five Stream: Gangsters; Back in the Game — Jim Pollock, The Associated Press PUP Who Will Look After The Dogs? (Little Dipper) For those unfamiliar with Toronto-based punk rock band PUP, the name is an acronym for 'pathetic use of potential,' lead singer Stefan Babcock has said. That should give listeners an idea of the snarky rejection of perfectionism at the core of this group. It should also be kept in mind when this reviewer says that PUP's latest offering is, well, not good. And compared to their previous work — it's not. But good is probably not what they were going for. The quartet has come up in the past decade as a punk-pop rock staple, combining Babcock's yelled lyrics about human fallibility with humour and catchy, head-banging melodies, but Who Will Look After the Dogs? is missing the invigorating electric guitar riffs and cohesion that made past albums so solid. The group's fifth studio album focuses on Babcock's relationships with romantic partners, bandmates and with himself. On the album, Babcock shares his vulnerable side, not the first time for the singer who has an open history with depression. Dark, self-deprecating humour permeates the album — and PUP's work as a whole — such as on the gritty Olive Garden, when Babcock asks a past romantic partner to meet up at the restaurant, ('Last time your Grandma was in a coffin') or in the bittersweet Hunger for Death. Some songs take a step back from the band's usual frenetic energy, especially the ones reflecting Babcock's romantic relationships. That is where the album can tend to lag, such as on breakup ballads Best Revenge and Shut Up. There are pleasures and missteps across the album, but the latter outweighs the former, making this one of the weaker releases across the band's animated discography. ★★ out of five Stream: Olive Garden — Kiana Doyle, The Associated Press Phil Haynes & Ben Monder Transition(s) (Corner Store) Drummer Phil Haynes has said he sees jazz musicians falling into one of two camps — traditionalists and modernists. His goal is to bridge the gap he sees as unnecessary. Within his releases are riffs that might be called traditional but are, in fact, ideas present in Ellington or other earlier artists. This album puts him in duet mode with wonderful guitarist Ben Monder. Together they explore the meaning of 'modern' within a fascinating array of acoustic and electronic moods that are 'new' yet somehow seem familiar and comfortable. It is a terrific romp. Clearly the overall impact here is electronic with sonic swirls augmenting the guitar. Monder weaves a wide range of moods with lingering chords and drawn out effects. There are a series of brief interspersed tracks titled Ben I etc. or Phil ! etc. that are tiny solos. They add a neat flavour to the longer tracks while tying the album together. The longer tracks, such as Untitled Ones, are quite slow and meditative with gentle melodies that never jar or seem forced. As Haynes wishes, the familiar is captured within a contemporary package. The title track, Transition, has a harder edge with Haynes' drum driving a recognizable tune. A highlight is Too Easily, a version of the classic tune I Fall In Love Too Easily that is pure delight. Monder and Haynes move around the melody and each other with grace and melancholy. As the tune slides in and out of the solos it completely relates the lyric instrumentally. The blend of unusual drum sounds with a guitar feature is often haunting. The final track, Epilogue, exemplifies this and seals off the album beautifully. Highly recommended. ★★★★½ out of five Stream: Too Easily; Beyond — Keith Black Bartók, Enescu, Kodály, Martinů Borusan Istanbul Philharmonic Orchestra (Onyx) The orchestral music of Eastern Europe is celebrated with the Borusan Istanbul Philharmonic Orchestra artfully led by its new chief conductor, Carlo Tenanof. First to bolt out of the gate is 20th-century Hungarian composer Bartok's Dance Suite, Sz. 77, its six movements propelled by forceful syncopated accents and ear-cleaning tonal clusters. Tenanof maintains a taut rein, ensuring its densely packed orchestration and kaleidoscopic, often shifting textures spotlighting individual players remains clear, from its opening I. Moderato, through VI. Finale: Allegro. Another highlight by Bartok's close friend and musical colleague, Kodály, is Dances of Galánta. The nearly 17-minute work was inspired by the Roma dance bands of (now) Slovakia. Tenanof's expansive approach brings sweeping romanticism to this five-movement pleaser, its unabashedly lyrical themes evoking the ethos of traditional 'verbunkos.' By contrast, Martinu's Frescoes of Piero della Francesca, H. 352 reflects the composer's visit to Arezzo to see the famous 15th-century frescoes the History of the True Cross in the Basilica of San Francesco. Its finale, III. Poco allegro, is particularly compelling with insistent rhythm motifs and clear passagework in the winds. Last but not least is Enescu's Romanian Rhapsody No. 1 with its halting opening bleeding into more fulsome textures and dancelike rhythms. One can only wish to hear this work performed live, with the orchestra's well-paced, no-holds barred delivery practically leaping off the album and full of fire from the Old Country. ★★★★ out of five Stream: Dance Suite, Sz. 77, III. Allegro vivace; Romanian Rhapsody No. 1 — Holly Harris
Hamilton Spectator
06-05-2025
- Entertainment
- Hamilton Spectator
Music Review: Radiohead's Thom Yorke and Mark Pritchard team up for inventive ‘Tall Tales'
'Tall Tales,' the first full-length collaboration between Radiohead singer Thom Yorke and electronic music pioneer Mark Pritchard, captures two prolific artists without much to prove and whole worlds left to explore. The project was conceived during the COVID-19 pandemic, when Yorke and Pritchard, both working remotely, began exchanging and modifying sound files. A half-decade later, the collaboration journeys back into the isolation of that period and far beyond. (And the partnership shouldn't come as too much of a surprise: Pritchard previously worked with Yorke on the 2016 track 'Beautiful People.') 'Tall Tales' captures their shared, endearing spirit of experimentation in a collection of dystopian, prog electronics that will satisfy fans of both artists. Across the album, Pritchard's inventive productions often serve as a perfect foil for Yorke's darker lyrics and mournful vocals. Pritchard is a synthesizer sommelier, too, utilizing classic vintage electronic instruments dating back many decades, such as the Arp Odyssey, Wurlitzer Sideman and the Minimoog. Yorke returns to themes of tech dystopia, consumerism and alienation that he has explored since the 1997 Radiohead album 'OK Computer,' evidenced in tracks like 'Gangsters' and 'The Men Who Dance in Stag's Heads.' On the later, a droning satire of billionaire self-indulgence, he sings, 'We sign their papers/We line their pockets.' The opening track, 'A Fake in a Faker's World,' serves up a mission statement for the project. There, Pritchard presents a whirlwind of digital sounds, with Yorke's human voice the sole organic element. The two tracks that follow are ambient works that seem destined for IMAX films or A24 soundtracks. 'Ice Shelf' is cold and glacial as Yorke sings 'Standing solo on an ice shelf.' 'Bugging Out Again' follows, haunting and dense with retro-futuristic effects. A strong middle section begins with 'Back in the Game.' The opening lyrics evoke the project's genesis: 'Have you missed me? How've you been? Back to 2020 again.' As in so much of Yorke's work, the track blends emotional despair with an infectious musicality. It is anchored by the album's two catchiest tracks. 'Gangsters' evokes 1980s video games with its use of a Mattel Bee Gees rhythm machine. The wonderfully titled 'This Conversation Is Missing Your Voice' follows, with a propulsive electronic pop energy that falls somewhere between Gorillaz and Squeeze. The final third houses the oddball tracks. The overlapping voices in 'Tall Tales' evoke a bardo of unsettled spirits. 'Happy Days' features a bouncy carnival beat. The late songs gradually add analog instruments to the mix, and by the finale, 'Wandering Genie,' the initial musical premise seems almost inverted: In the beginning, Yorke's voice was the only organic sound; by the end, it's all recognizable instruments and his voice has been digitized beyond recognition. Atop analog flute, bassoon and pipe organ, a mechanical Yorke brings the journey to its coda, repeating the single lyric, 'I am falling.' And in 2020, who wasn't? ___ AP book reviews:
Winnipeg Free Press
06-05-2025
- Entertainment
- Winnipeg Free Press
Music Review: Radiohead's Thom Yorke and Mark Pritchard team up for inventive 'Tall Tales'
'Tall Tales,' the first full-length collaboration between Radiohead singer Thom Yorke and electronic music pioneer Mark Pritchard, captures two prolific artists without much to prove and whole worlds left to explore. The project was conceived during the COVID-19 pandemic, when Yorke and Pritchard, both working remotely, began exchanging and modifying sound files. A half-decade later, the collaboration journeys back into the isolation of that period and far beyond. (And the partnership shouldn't come as too much of a surprise: Pritchard previously worked with Yorke on the 2016 track 'Beautiful People.') 'Tall Tales' captures their shared, endearing spirit of experimentation in a collection of dystopian, prog electronics that will satisfy fans of both artists. This cover image released by Warp Records shows 'Tall Tales' by Thom Yorke and Mark Pritchard. (Warp Records via AP) Across the album, Pritchard's inventive productions often serve as a perfect foil for Yorke's darker lyrics and mournful vocals. Pritchard is a synthesizer sommelier, too, utilizing classic vintage electronic instruments dating back many decades, such as the Arp Odyssey, Wurlitzer Sideman and the Minimoog. Yorke returns to themes of tech dystopia, consumerism and alienation that he has explored since the 1997 Radiohead album 'OK Computer,' evidenced in tracks like 'Gangsters' and 'The Men Who Dance in Stag's Heads.' On the later, a droning satire of billionaire self-indulgence, he sings, 'We sign their papers/We line their pockets.' The opening track, 'A Fake in a Faker's World,' serves up a mission statement for the project. There, Pritchard presents a whirlwind of digital sounds, with Yorke's human voice the sole organic element. The two tracks that follow are ambient works that seem destined for IMAX films or A24 soundtracks. 'Ice Shelf' is cold and glacial as Yorke sings 'Standing solo on an ice shelf.' 'Bugging Out Again' follows, haunting and dense with retro-futuristic effects. A strong middle section begins with 'Back in the Game.' The opening lyrics evoke the project's genesis: 'Have you missed me? How've you been? Back to 2020 again.' As in so much of Yorke's work, the track blends emotional despair with an infectious musicality. Winnipeg Free Press | Newsletter Winnipeg Jets Game Days On Winnipeg Jets game days, hockey writers Mike McIntyre and Ken Wiebe send news, notes and quotes from the morning skate, as well as injury updates and lineup decisions. Arrives a few hours prior to puck drop. Sign up for The Warm-Up It is anchored by the album's two catchiest tracks. 'Gangsters' evokes 1980s video games with its use of a Mattel Bee Gees rhythm machine. The wonderfully titled 'This Conversation Is Missing Your Voice' follows, with a propulsive electronic pop energy that falls somewhere between Gorillaz and Squeeze. The final third houses the oddball tracks. The overlapping voices in 'Tall Tales' evoke a bardo of unsettled spirits. 'Happy Days' features a bouncy carnival beat. The late songs gradually add analog instruments to the mix, and by the finale, 'Wandering Genie,' the initial musical premise seems almost inverted: In the beginning, Yorke's voice was the only organic sound; by the end, it's all recognizable instruments and his voice has been digitized beyond recognition. Atop analog flute, bassoon and pipe organ, a mechanical Yorke brings the journey to its coda, repeating the single lyric, 'I am falling.' And in 2020, who wasn't? ___ AP book reviews:
