Jonny Greenwood: "The string parts were written originally with an Ondes Martenot, just multitracking it, and playing one part at a time. And eventually we did replace it with real strings. But in parts of it you can still hear the Martenot."
Mark Russell: "It's quite a strange orchestration, because it seems to sort of like float over the top of the song in a kind of disembodied way."
Colin Greenwood: "Well, I mean Jonny probably didn't have such a good time, but he scored the strings and played the Martenot live, didn't you, with the orchestra of St John's..."
Jonny: "I played it very badly, out of tune. [laughs]"
Colin: "...St. John's Smith Square, at Dorchester Abbey, you know, on the Thames. And it was freezing winter, was it February? And Nigel, our producer, took his Apple G3 and hard drive in and some microphones, and no tape, and recorded the orchestra and Jonny playing along on the Ondes Martenot."
Robert Sandall: "Decisions like that, which are obviously fairly radical, are they completely democratically agreed, or is there a certain amount of banging the table and 'no, we're going to do it this way', and you, for example Jonny, insisting that that'd be done? How much do you proceed by consensus, and how much by insistance?"
Jonny: "I don't think any of us are very good at 'table thumping', we seem to just stagger on in the lunacy. I mean, recording the strings was literally a case of setting up in the vestry of this church with one computer and just hoping it was going to work, you know, it wasn't exactly wrapped up in sellotape, but it was that sort of feeling, and especially doing strings when you've only got three hours."
Mark: "Had you demoed the string parts before, did you know roughly what they were going to sound like?"
Jonny: "No, no idea, and the first play through you're just following the notes, just waiting for the wrong one to suddenly poke out, which, you know, which it did a couple of times, but that was fine."