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So as we've been this been reporting on the show today The Great Escape Festival took place this weekend in Brighton, the music industry also gathered there to discuss various aspects of music and one of the star speakers was Radioheads Colin Greenwood, alongside journalist Paul Morely, Alexis Petridis and Poet Simon Armitage they discussed high brow bi-ennial music journal 'Loops' which is described as - an opportunity for writers to step out of the PR agenda and discuss their passions at length and in depth Colin has been asket to contribute a piece for the publication, although he told 6Music's Jo Youle that the piece won't write itself

JY: So we've obviously been watching you on the panel talking about the 'Loops' launch of a magazine and you're going to be contributing a little article to.

CG: Ahh, i'm going to try, it's a bit like school and homework deadlines, but i think it's great that the faber and domino records collaborated to produce something which is about people thinking and writing about music and in sort of longer more considered forms than you see in alot of magazines and online publishing.

JY: So do you do a lot of writing, aside from songwriting?

CG: No, I just turn up at the studio and make noises with everyone else, then leave and go home. That's about it really.

JY: have you guys been back near a studio making noises recently?

CG: Yeah we've been, we just went in last week and it was great, it was very noisy, chaotic and really fun and I'm very impressed with and grateful for Nigel our producer for his ability to somehow make it all sound vaguely plausible.

JY: Is Nigel a firm fixture for your eighth record?

CG: He's truly fantastically brilliant and he's like, he can take anything- whether it's like an old high-fi unit or whether it's like four or five people in a band and he'll sort of try and make it work and i totally love him and respect him for that.

JY: How many sort of tracks have you got?

CG: Oh it's not... it's really just like scrap books and it's like we're at the stage where we've got the big Lego box out and we've tipped it out on the floor and we're just sort of looking at all the bits and thinking, you know, what's next? But you know it's very much... it's cool it's trying to get everyone excited really and inspired and into it. But what's really cool is that we've just come back from touring South America and it was the first time we had been to some of the countries there...and Mexico.. and it was just the most brilliant experience and we were playing with Kraftwerk who are one of our musical heroes and that was a real privilege to share a stage with them.

JY: What is it about Kraftwerk that is so special?

CG: Obviously I love the beats, but I fell in love with them again through my brother Johnny, who didn't really know their music so well.
He's not such a big fan of contemporary electronic music, but he loves the quality of the melody. Their melodies sort of seep into your brain and stay there - it's fabulous.

JY: Would they be people you'd think about working with?

CG: They are up at the top of the mountain! It was a huge thing to be touring with them.

JY: Are you looking forward to the festival season obviously you've just finished....

CG: We're very excited, were playing in Austria and Poland and Czechoslovakia and of course Reading and Leeds, you know just down the road from us....Reading, so that's good you know, should be good what were should be darker and louder i hope than when we played, it's been a bit frustrating some of the shows we played the last year, it was light for the first half-hour forty five minutes of the show and it was kind of, you could see our lighting designer slumped over his console for the first forty five minutes, which was, considering how brilliant the lights are and how much work he put into them, it was a shame so we wanted to come back and do it, you know so people could see it as it's meant to be seen - darker and louder.

JY: Are you going to be playing any new material at Reading?

CG: I don't know it's like early days for that but... it's all good.

JY: Is that one of your favourite festivals?

CG: We played Roskilde and that was extraordinary, a rectangle of 75,000 people just going crazy all the way from front to back. That was brilliant, playing under an orange pointy tent. But ones in the UK? Yeah, they have all been good.

JY: You still play a lot of festivals, but do you go to any?

CG: I want to go to one of those fluffy ones, where you can camp out and relax and stuff. I have one of those tipi tent things.
When we made the last record, Stanley [Donwood], who does all our artwork, camped out in the back of this crumbling country house in a tipi, while we slept in caravans. I was inspired to buy a tipi and a little mini-festival tent, and do that thing with the kids.

JY: One of the things that's cropped up at this conference this weekend, in terms of monetising and stuff is that obviously you gave away the last album, is that something that you might be looking to do with the next album any ideas?

CG: Yeah well we didn't give it away for free we asked people to say how much they thought it was worth, um we've got lots of ideas, but we don't decide what we're going to do with it until we finish the thing and we are going to decide what we're going to do with it so, it's all up in the air, but it was up in the air last time so, that was what was exciting about the last time, everything was on the hoof.