As members of Oxfordshire's greatest ever band, Thom Yorke and Jonny Greenwood are respected the world over for their musicianship and flare.

But the Radiohead icons are also picking up up plaudits –and an Oscar nomination – for their work for the silver screen.

Both artists have provided acclaimed soundtracks to big budget movies, Greewood for Phantom Thread and Yorke for Suspiria, both of which have been released as albums. Critics have praised the soundtracks ranking them among the best recordings by the Radiohead stalwarts, who met while pupils at Abingdon School.

Here's what they thought:


Astonishingly, Jonny Greenwood’s Oscar nomination for Phantom Thread was his first, with his stunning There Will Be Blood soundtrack deemed around 10 minutes too short on original music for consideration a decade ago. His exquisite score for Paul Thomas Anderson’s acclaimed film should give him plenty of reason to go shopping for a dinner suit.

Phantom Thread depicts a power struggle between dressmaker Reynolds Woodcock (Daniel Day-Lewis) and a young waitress (Vicky Krieps). In keeping with the deepening and tumultuous tale, Greenwood’s orchestrations – recorded by a 60-piece orchestra – are sumptuous yet fragile, always laced with tension and melancholy.

The Radiohead guitarist eschews the angular modernism (There Will Be Blood) and 70s rock (Inherent Vice) for a more subtle neo-classical approach, perfectly in keeping with the fraught world of 1950s high fashion in London. The result is stunning in its own right, and should have seen Greenwood add an Oscar to his heaving trophy cabinet. 8/10


Brooding, disconnected, an ever-present sense of dread and paranoia... it’s not too hard to imagine why Luca Guadagnino, the Italian director behind the new remake of 1977 horror classic Suspiria, was so set on having Thom Yorke write the music for him.

The Radiohead singer’s 23-track album – his first full film score – takes in a range of influences from choral to Krautrock, and offers a chance to take his experimental sensibilities one step further, away from the constraints of the popular album format.

Amidst its eerie instrumentals and suffocating darkness, Suspiria features some insanely beautiful songs.

Open Again, a smothering slow-roller enveloped by swirling delay loops, was described by Yorke as “the most simple and pure statement in the film I think, lyrically”. And Unmade – a fragile falsetto piano ballad that shatters into tiny fragments – is a moment of stunning clarity that could easily have made it on to a Radiohead record – and maybe will. 8/10