It was very high-level thinking, conceptual, moving forwards in terms of sonics, and beautiful songs. “There were no constraints,” said OK Computer producer Nigel Godrich. Instead, they gorged on masterpieces like Miles Davis’ Bitches Brew, Johnny Cash at Folsom Prison, Marvin Gaye’s What’s Going On, and the Beach Boys’ Pet Sounds, and began writing songs just as grandiose and moving, though not rooted in any era of rock’s past. But as soon as you go down that route, you might as well be a Dixieland jazz band, really.” “To us, Brit pop was just a 1960s revival,” guitarist Jonny Greenwood said in 1997. This was the peak of the Brit-pop movement in their native England, but they felt no kinship with the likes of Oasis and Blur.
Their designs weren’t quite so grand when they started work on the album in the summer of 1996, but they knew they wanted to create music unlike anything that had been heard before.
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