[On the online experiment]

Thom: "For me personally, it was a way of letting everybody judge for themselves, how they felt about it before another rather dull….it felt in parallel with when we first sort of got back together basically after having a break. And I was talking about how I'd no longer felt I wanted to be answerable to the Radiohead thing at all, and it's not that I wanted to spilt with the band, I wanted to carry on working with the band but I didn't want everything to be looked at in this way, the way the things are looked at. It's completely precious, you know, and it's denying saying your work is good. I am actually proud of it, that's not kind of what I mean, it’s just the sort of nonsense element of it, the sort of umm…I guess just the machinery, you know, making old school promotional machinery which in the context of the music we like and what were into, it just increasing doesn’t make any sense. It feels wrong, I'm sure it feels wrong to lots of people and suddenly you're given the opportunity to side-step it as best you can, I mean who wouldn't take it."

[On shuffling music]

Thom: "Personally speaking, I think the reason that people chose to shuffle their iTunes, is because it’s like a substitution for radio. That downloading loads of stuff and hoping that this mythically DJ that doesn't exist is gonna provide for them, which 90% of the time he isn't doing, you know, occasionally you'll get a couple of tunes that go together and you like 'Woohoo!'. But most of the time it's just, you know, my missus absolutely can't stand when I shuffle music in the house, it drives her absolutely crazy, but she's right, she's absolutely right."

[On the production]

Jonny: "Just being in a room with loud music generates all this white noise and it's quite intense which you lose as soon as you try record a song like that. It's the old cliché of - band sound great in a room, why don't you just go and record it like that, but you can't because you lose this thing that happens to your ears. So what I always carry through with me, while we're working on that song is – how amazing it was at the end of that song when all this chaos kick up and you could just hear Thom singing through it, and that was just very clinical. And so that's how we did, we generated that by having the strings play every single note in the scale, so you just get this full sort of noise."

[On the collaborative process]

Phil: "Confrontation has never been our strong point; we've kind of shied away from it, which quite strident personalities are in order of the situation to be in. I think for a while we all went off in to our own little corner, nobody was really talking about the music and that's why, you know, until you actually get to that point and sit everybody down and just say what it is good about the song, what you feel it should go, then you can actually start making decisions about it but we were off in our own little corners for a quite some time. Nigel was very good at pulling us all in together and drawing us all out."

[On the recording process]

Jonny: "I realized ever since we were kids we would record ourselves and then listen to ourselves obsessively and over and over again, like of 4-track recordings, stuff done in bedrooms and it's still a bit like that, I suppose. I think when you work on something over and over again, you sort of – it's got to good enough to be worth working on and if it survives that process, it usually good enough to release. And it's not usually about working on fractions of seconds, it just about listening to all the songs over and over again and making sure that it's, you know, it's doing the right thing."