Ed O'Brien: "'Everything in Its Right Place' was the first completed track. It was finished last summer, and it was Thom and Nigel. The song had been kicking around, we had tried it in Paris, we tried it in Copenhagen, in a band format, hadn't really worked. Thom and Nige were at Batsford House out in Gloucestershire, went away into the room for an evening, and worked on it. I remember coming later that night or the next morning, thinking 'This is just amazing, this is wonderful', you know, the potential of using this new technology, not resorting to guitars, and the whole thing of it. And it was, it was..."
Phil Selway: "It was very much a case of letting go."
Phil: "For me, along with that. Ok, you hear there's a quality there, but along with that come all the insecurities of 'but I'm not playing on it!'"
Ed: "'I didn't play on this track!' [laughs] That's right."
Phil: "I mean, in ways, that song is brilliant, because it did bring out..."
Ed: "It forced the issue, immediately! And to be genuinely sort of delighted that you'd been working for six months on this record and something great has come out of it, and you haven't contributed to it, is a really liberating feeling. It's like, you could say 'Fuck! I've been working, I've been playing guitar for six months and everything I've done is crap!' [laughs]"
Paul: "From a listener point of view I'd have to say it's a good call. Because it really sounds like the beginning of something."
Ed: "Yeah, it definitely sets the tone of it. It's the key to this record. [...] I mean, I think 'Everything In Its Right Place'... I think it's really tense, and actually, in its own way, really emotional. But it doesn't have the obvious, huge crescendos that have existed on previous tracks and records of ours."
Chris Douridas: "In terms of the writing and the recording process, do you remember where the breakthrough came? Was there a moment of epiphany, or was it a series of smaller... "
Ed O'Brien: "It was a series of small ones, really. The first one I remember was the one when we were in Batsford. We've been working in a band context a lot of the time, and one night, Nigel and Thom sort of shut themselves away and did 'Everything In Its Right Place', and we heard it the next day. And that was a breakthrough, the sound of what they'd done was like, 'yeah, that's really, really different and it's something that really excites us'."
Jonny Greenwood: "'Everything In Its Right Place' was important because, unlike with OK Computer
, our last record, we were happy to leave parts of it empty. I think in the past we've been too scared to leave sounds exposed or to have too much space around them, and we've been guilty of layering on top of what's a very good song or a very good sound, and hiding it, camouflaging it, in case it's not good enough. And 'Everything In Its Right Place' was one of the first songs that we actually realised is great, even though it's so sparse." [...]
Colin Greenwood: "[Nigel] didn't think much of 'Everything In Its Right Place' when he heard it, he didn't think it was going to be any good, but then Thom was banging it out on an upright piano, you know, and then he and Thom like stayed up late one night in this big country house we rented out in England and did it on a proper keyboard and then Nigel used a scrubbing tool in Protools to like scratch the soundwaves, and made all these mad sounds that no-one had done before and it was amazing."