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Radiohead bassist Colin Greenwood recently revealed that Shadow was one of the main inspirations for their 'Paranoid Android' single.

"One of the ideas behind 'Paranoid Android' was trying to do a combination of DJ Shadow and The Beatles," he said. "Shadow does a lot of Beatles stuff in terms of welding different pieces of music together sticking bits of mastertape together and keeping the flunky bits in."
"And that was the one thing about OK Computer that really excited me. It just didn't matter. I know it sounds wanky, but it's like the Beatles - with their good records, you can tell that they just didn't care. That's how to write songs."
HUMO: Why do you want to bring out a short album, in fact?

Colin: We didn't want to bother anyone, and -again- we want to avoid the classic rock-'n-roll traps. The more successful and rich a band gets, the bigger the danger for a double album. If such a band records it's fourth or fifth album, suddenly they have enough time and space, and usually the band members think they've made a huge progress as musicians. And then they decide to bother the audience with a double album. No one needs that. Even the best double albums - The White Album by The Beatles, or Sandinista by The Clash - would have been even better if half of the songs had been deleted. It's no popular point of view, I know, but I'm sure that if The White Album had been one single album, no one would dare say that Sgt. Pepper's is the best Beatles record.
You've already played some of the other songs live: 'Knives Out', 'Egyptian Song'...

"Yeah, even though they're really great songs, and I'm really proud of them, they just didn't fit, which is quite a weird feeling, because you think an album should be just basically the best songs. That's not necessarily true. You can put all the best songs in the world on a record and they'll ruin each other. On the later Beatles albums, when they got really, really good at putting things next to each other, like on The White Album, it's just amazing. How in the hell can you have three different versions of 'Revolution' on the same record [sic] and get away with it? I thought about that sort of thing."
Elsewhere, Radiohead's 'vocal science' bypassed state of the art digitalia for antiquarian technology and the sort of ad hoc boffinry redolent of John Lennon and George Martin's techniques at Abbey Road during the late Beatles era (Yorke confesses that Revolution In The Head, Ian MacDonald's book detailing the recording of every Beatles song, was "my bedside reading all through the sessions for the albums")
Terry: "(laughs) On 'No Surprises' was there anything that... any moment where you realized 'ok, this is actually a good track, this works.'"

Thom: "Ah, it was... as often happens... it was actually sort of finally getting a vocal that made sense. Because it was so slow and we had to do... we ended up... we physically couldn't play it that slow. So we used the old Beatles technique of... record it at the natural speed you want to play it and slow it down and get this sort of strung out effect. And then singing to that was just a really... quite a weird experience."

Terry: "Wait, so you slowed down the instrumental track?"

Thom: "Yeah, yeah."

Terry: "With, with..."

Thom: "We recorded everything and then slowed it down and then I sang to it."

Terry: "Oh, I didn't realize that."

Thom: "Yeah, I mean you can hear it, you can hear it in some of the... especially the way the drums play. That's what they used to do with Ringo all the time, that's why his fills used to - God, I'm Beatle obsessive... um, sad but true - um, yeah, they used to get those amazing drum fills on lots of Beatles records. They used to make him play lots faster, and then it would sound really strung out."
Ed: And this specific tour is unlike any other tour we've ever done. And, when we toured, even "In Rainbows", but mostly in the early days, there's a lot of, you know the energy was very... You know you think about records like "The Bends", "OK Computer" and "Kid A", it's got a lot of dark energy, there's a lot of darkness, you know what I mean? You hear thatmelancholy. It's not like that. Radiohead is not like that anymore. And all I can say is like it's like love and light. And, from where I've been, these gigs are very, very different. And it's like really uplifting, these gigs are very light, they are full of love... it's like The Beatles, it's going back to what The Beatles said, All You Need is Love. It's true. And we, in a way, have found that and that's what we are bringing to our shows. And, all the shows are now, we've got such an amazing.... You know, the audience that we have... It's not like... When we do a show, it used to be like, us and the stage and the stage. It's not like that anymore. It's like there's this energy, we're all just spinning it around, and the audience are... That person in the audience is as important as me or as Thom, we just help facilitate it, you know, love, and it's really powerful. And it's been amazing, these last few weeks have been the best, the most different shows we've ever done, you know. And to me, these have been the best shows we've ever done because it's a very different spirit.
Since many people would consider Atoms For Peace a supergroup, what would you say is your favorite (or most influential) supergroup?

Nigel: The Beatles.. N
Remixing Paul McCartney’s “Slidin’” (2020)

Stereogum: I was fascinated by this. It was already kind of a rocking song, but you really kind of electrified it, made it more intense — kind of “Helter Skelter”-ed it up.

O’BRIEN: That was the vibe. That was exactly it. It was just like “Helter Skelter.” That version, it was like, just make it more raw. Make more garage and more throwaway. And that was the vibe. Because the thing is, as you get older, we all kind of can smooth out a little bit, and it's like, maybe “Helter Skelter” it up, Neil Young it up, we just make it a bit more gnarly. And he's great. It was really good fun. I did it with Paul Epworth and Riley. And Paul McCartney was really sweet. He rang me up one Saturday evening and said thank you and how much he liked it, and we ended up having a great conversation. So yeah, it was fun to do.

For inspiration, O’Brien turned to the work of artists from generations past who experienced their own transformations in the late-’60s and early-’70s. So he explored the moments when Miles Davis went electric, when Sly Stone and Nick Drake found their essential voices, when the Beatles evolved with Revolver.