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Steve Lamacq: "Strange, we were just talking while that record was on about the fact that obviously the last album, Pablo Honey, was a grower in a lot of people's minds, you know, you put it out, and it sort of.. took off. This one, you have to make a dramatic entrance for.

Jonny: "Well yeah, it's just bizarre that we didn't really, weren't prepared for the shelf life of the first album to be two or three years, we kind of planned to be sort of touring them once and then sort of make an album straight away. We weren't really prepared for the, um, intensity in which it's been listened to and reviewed and uh, such like. And the next time I mean — when we first formed the band we were sort of writing songs every week, and just that kind of, the kick we were getting from being in a band, and suddenly turned around, and just have to stop writing songs, and stopped being able to record songs, it's been a very frustrating time.

Steve: "So could you put it into context for us, how this album actually came about. Where were you when you started writing the songs.

Jonny: "They were just written during, during the tours. We'd have a tiny, tiny guitar amp, and me and Thom would be sitting in the, in dressing rooms, cliched enough? And we actually got recordings for most of the album of, um, and we had time just to sing the songs and what we think they're going to be, and we've got the rest of the band just soundchecking completely out of time in another building, so—

Steve: "So when and where would this have been?

Jonny: "Oh, when we were supporting Belly in America, James in Europe, just um, hither and wither, but, um, there were none of those kind of cliche, it's funny how every band, when it does their second album, has sort of a 'hotel ain't home,' or 'we're missing home,' but, there's none of that, I'm afraid.

Steve: "American punk bands always specialize in sort of song about laundries

Jonny: "Yes, don't they!

Steve: "That means they get their washing done. Do you find it was quite different from then, obviously writing songs on the road, you're writing songs three years down the line, two years down the line from the last album. Was it a real release to actually be able to get on and think, "oh right, we've got a purpose now, we've got a second album, which we've got to record in X time."

Jonny: "Definitely it's like, I don't know, it's like writing a play or something, and then, having to tour it, and having, having to tour this one for a while, but you kind of, you yearn to do something new, or it's like writing a book and just promoting it for three years, it makes no sense because you're a writer, really.

Steve: "Were you getting bored with the art then?

Jonny: "Well not really, we were kind of pushing songs and messing up as much as we could, but it does kind of get a little bit jukebox like, when you're, you know, still playing the same songs three years later,

Steve: "And also, I suppose, because people are still putting their money in the next best thing, in the hits they want to hear

Jonny: "Which is fine, but when we are, like I say, when it's strictly just about songs, then people know, really it just gets too frustrating.

Steve: "But this album really, I suppose, is your first chance to confirm what Radiohead has been to them.

Jonny: "it's like, It's like, when we first started the band, and we'd just record ourselves all the time, and just be obsessed with our own recordings, and it's the first time that we've actually done a recording as Radiohead that's still like that, you know, and I'm still pretty obsessed with the record we've produced, it's a great sign.

Steve: "Alright, so, give us a favorite track, and we'll play that one.

Jonny: "Oh you will? Uh, Street Spirit, probably.

Steve: "And why? It's a big climax to the album.

Jonny: "Yeah it is, I think, all that all, both our albums, the best track has been the last song, and it's just sort of, the way it builds up, and sort of, the tension that builds up, so it's very exciting.