Main Index Pablo Honey The Bends OK Computer Kid A Amnesiac Hail to the Thief In Rainbows The King of Limbs A Moon Shaped Pool Thom Yorke Jonny Greenwood Ed O'Brien Colin Greenwood Philip Selway
Some sounds used in this track, which was probably created during two weeks of experimental sessions in early 2000, were taken from the version of 'True Love Waits', that the band had recorded during the OK Computer sessions in 1996. The session track in question, called 'True Love Tape Loop', was released in 2017 on the cassette that was part of the OKNOTOK 20th anniversary release of OK Computer:
The track was built from this and other loops. Similar to the recording of 'Kid A', Thom then didn't sing the lyrics, but just recited them. His voice was manipulated using an Autotuner, a program mainly used to correct the pitch of vocal performances. It was given a key and then searched for appropriate tones in Thom's talking and thus created a sort of melody.
Colin: "'Pulk/Pull Revolving Doors' was made using an MC505 and some loops, together with some other found loops that we made in St Catherine's Court when we were recording OK Computer."
Ed: "Nigel was really good because he said… We had this thing at the beginning of the year, and Jonny apparently didn't enjoy these two weeks… We'd completed some songs, and we hadn't completed others. And we were starting, you know we had a break after Christmas, and he said 'right, let's split up into two groups'. And we had two weeks. And we had two weeks of totally… I mean it was a real workshop experimental stuff. And I think we got a lot of that stuff out of our system. The rules were, nobody was allowed to play drums, nobody was allowed to pick up a guitar, the only thing that could be used were electronic, you know, computers, synths etc. etc. It was really good fun. 20% of it was good, and the other 80% was utter rubbish. You realize that sometimes it can be quite valid of… just this phrase of "throw some shit at it". You know, just be random."

Q: "Was much of it used from that, those experimental stages?"

Ed: "Bits… I mean… There's one track that's possibly going… that will come out next year. No, but not a lot."
Thom: "I had this thing for a while where I was falling through trapdoors all the time, into like, acid flashbacks. I'd be talking to someone and then I'd be falling through the earth, and it went on for months and months, and it was really weird. And that was all happening towards the end of OK Computer. And that was all linked in with death. Seeing people dead, like, as I'm talking to you... It's okay," he says reassuringly, looking at my shocked face. "I'm better now."
Q: "I thought, on the new album, on "Amnesiac", track 3, to me, has almost an industrial..."

Colin: "Yeah, 'Push/Pulk Revolving Doors'."

Q: "...hip-hop feel to it. Do you feel that in that track, a little bit of a hip-hop influence, almost, or."

Colin: "You know, it's stuff that we all listen to and that we're into. It was a wide range of tastes. What's cool about that track is it's a sequence that Thom did on the drum machine, basically, together with sounds that we were working on when we were doing OK Computer, like piano and Rhodes put together with a really cool treated vocal. It's a good combination of things there from several years of work. That song is my favorite track, I think."
On Amnesiac, the dirty 808 bass of 'Pulk/Pull Revolving Doors" invites you to reimagine Yorke's mid-80s adolescence - not pining indoors to REM's Murmur and The Smiths' Hatful Of Hollow, but spraying graffiti and breakdancing in deserted shopping centres alongside LFO.

[...]

Another vocal treatment Yorke resorted to was the Autotuner, most famous from Cher's 'Believe', but widely used in contemporary R&B as an intermittent glister of posthuman perfect pitch added to particular lines or words. "We used Autotuner on Amnesiac twice. On 'Packt Like Sardines', I wasn't particularly out of tune, but if you really turn up the Autotuner so it's dead in pitch, it makes it go slightly..." he makes a nasal, depersonalised sound. "There's also this trick you can do, which we did on both 'Packt' and 'Pulk/Pull Revolving Doors', where you give the machine a key and then you just talk into it. It desperately tries to search for the music in your speech, and produces notes at random. If you've assigned it a key, you've got music."
Ed O'Brien: "We had this thing at the beginning of the year, and Jonny apparently didn't enjoy these two weeks, but Nigel said like 'Alright, let's split up into two groups'. And we had two weeks of sort of workshop experimental stuff. Nigel said the rules were nobody was allowed to play drums, nobody was allowed to pick up a guitar, the only thing that could be used were sort of electronic, you know, computers, synths, etcetera, etcetera. And it was really good fun. Twenty percent of it was good and the other eighty percent of it was utter rubbish." [...]

Paul Anderson: "Was much of it used, from that, those experimental stages?"

Ed: "Bits... I mean, there's one track that's possibly going... that will come out next year. No, but not a lot."
This piece of artwork appeared in the Dead Children Playing book that accompanied the exhibition of artwork that Stanley held at Iguapop Gallery in Barcelona in 2006 (click image for full size):