{"id":9944,"date":"2018-03-06T07:54:24","date_gmt":"2018-03-06T10:54:24","guid":{"rendered":"http:\/\/www.exitmusic.com.ar\/news\/?page_id=9944"},"modified":"2021-01-28T11:53:49","modified_gmt":"2021-01-28T14:53:49","slug":"exitmusic-in-conversation-with-philip-selway-and-ed-obrien","status":"publish","type":"page","link":"https:\/\/www.exitmusic.com.ar\/news\/prensatraducciones\/exitmusic-in-conversation-with-philip-selway-and-ed-obrien\/","title":{"rendered":"ExitMusic in conversation with Philip Selway and Ed O’Brien"},"content":{"rendered":"

por Leonardo Ebel
[spanish version here<\/a>]<\/p>\n\n\n\n

Two months of joint work with Daniel, Italo and Mauricio (admins of the Colombian, Peruvian y Chilean websites, respectively) subtly collecting questions from fans on our social media platforms \u2026 about to go down the well due to our Internet service provider? Sounds very much like Argentina. Fortunately, this country is also full of good friends who answer the call to use their Internet service without asking many questions. The afternoon of February 21st will remain in our memories not only because the headquarters of ExitMusic were cut off from the Internet for several hours, but also because Philip Selway and Ed O\u2019Brien joined us in a friendly chat over Skype (friendly and relaxed, once we got over the stress of the Internet access issues, of course)<\/span><\/p>\n\n\n\n

As both of them are in the studio these days, our first questions had to be about their recent and current projects. As Philip has talked to the media about his latest project, the soundtrack to <\/span>Let Me Go<\/a><\/span><\/i> by Polly Steele, we decided to move away from the general questions to focus on more specific aspects. Selway worked on the soundtrack while working on <\/span>A Moon Shaped Pool<\/a> <\/span><\/i>with Radiohead, in France. \u201cWork with Radiohead didn\u2019t start until midday,\u201d he told us when we asked him to what degree did each album influence each other, \u201cso they\u2019re two different and separate projects.\u201d Selway added that he thought it healthy to keep a clear line between both projects, as a means to continue developing musically. Maybe, then, the influence was much more subconscious as there is – or at least it happened to us – a return to the place we were when we listened to \u201cDesert Island Disk\u201d<\/a> for the first time in May 2016 when \u201cWide Open\u201d<\/a> starts playing. Selway confessed that he had not connected the songs before.<\/span><\/p>\n\n\n\n

A central element to the soundtrack is strings, and the arrangements are just exquisite. The composer told us that the majority of them are his own work<\/strong>, and when we asked if he got any tips or advice from Jonny Greenwood – whose orchestral work is extensive – he just laughed it off saying that Greenwood keeps himself to himself these days. \u201cI got help from Laura Moody as well as from Adem [Ilhan], but it\u2019s mostly my work.
I think my arranging skills are developing little by little,\u201d was his final remark, thinking of the learning curve from Familial<\/a><\/em> (2010) to Let Me Go<\/em> (2017), through Weatherhouse<\/a><\/em> (2014).<\/span><\/p>\n\n\n\n

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