Matt: On 'A Moon Shaped Pool', you have the London Contemporary Orchestra [playing on it]. What's the moment that for you really captures what they did - or what you did - as you know, the orchestral element of the record?
Jonny: At the end of 'Daydreaming', I got the cellos to all tune their bottom strings down about a fifth, but then still try and play the music. So you can hear them struggling to stay in tune, and you have this low kind of grumbling growl sound. Things like that is their bread and butter anyway, that's the kind of music they play anyway, and it just all felt really effortless and exciting.
Jonny: At the end of 'Daydreaming', I got the cellos to all tune their bottom strings down about a fifth, but then still try and play the music. So you can hear them struggling to stay in tune, and you have this low kind of grumbling growl sound. Things like that is their bread and butter anyway, that's the kind of music they play anyway, and it just all felt really effortless and exciting.
Yorke's favourite song from A Moon Shaped Pool is Daydreaming, "when we do it right". "Tonight was a little bit sketchy, it's usually better than that," he says. The song came quite early in the process at La Fabrique studios in France, where the bulk of A Moon Shaped Pool was recorded. "It was a breakthrough," says Yorke. "It was the equivalent of when we did Everything In Its Right Place (the opener on 2000's Kid A). We got that and then we were, 'Right, OK, this is it...'" Yorke says that when he suggested doing Daydreaming - a six-minute song with no chorus or drums - so early in the live set, the band's co-manager Chris Hufford asked, "Are you fucking mad?!" But Yorke said it seemed like the best solution. "We couldn't figure out, 'How do we bring people in?' And there's a portion of people who have heard it, so that's alright."
Bob: Are you all in the room when [Thom is singing]? Does he do this when he's finally gotten rid of you all and he's alone? How do you perform with one another when it comes to studio work?
Jonny: Well this song is a strange example, because we did the backing track and Thom came in and sang on it. We couldn't find a way in, and so we did the bare bones of it without him.
Bob: What did you have to work with that you were- when you say you did the backing track, was there just the those tapes and stuff and Thom then played on top of it?
Jonny: No, he just came and sang. I mean he wrote the song, but I ended up playing the piano part and we presented him with this backing track to sing to, and I think that was kind of a nice change for him. He's so used to having to start things off.
Jonny: Well this song is a strange example, because we did the backing track and Thom came in and sang on it. We couldn't find a way in, and so we did the bare bones of it without him.
Bob: What did you have to work with that you were- when you say you did the backing track, was there just the those tapes and stuff and Thom then played on top of it?
Jonny: No, he just came and sang. I mean he wrote the song, but I ended up playing the piano part and we presented him with this backing track to sing to, and I think that was kind of a nice change for him. He's so used to having to start things off.
Edith: Have you got a favorite track on the album?
Ed: I like 'Daydreaming'. I think that's because... a lot of [the songs on the album] were tracks that, as you said, were sort of old and they were great and we brought them. But 'Daydreaming' was one of the few ones we rehearsed and it sort of came out of the rehearsals, and it was new.
Ed: I like 'Daydreaming'. I think that's because... a lot of [the songs on the album] were tracks that, as you said, were sort of old and they were great and we brought them. But 'Daydreaming' was one of the few ones we rehearsed and it sort of came out of the rehearsals, and it was new.
