Category Archives: 2014

2014, Bandcamp, EP, music, reviews

Stream: FIM – “Alien Beach Party”

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It’s rough out there, trying to find an audience and undoubtedly getting lost in the shuffle with the approximately 10,000 other bands that release music at a steady pace every day. The internet is jammed full of mediocrity parading as proficiency via PR savvy, and giant bands that manage to focus all eyes on them whenever they so much as hint at the possibility that they are going to be doing something in the future (ie Arcade Fire’s incredibly redundant advertising campaign for their latest overhyped album).

So sometimes things that are really worthwhile are released quietly, buried under the aforementioned pile of mediocrity and lost. Thankfully some of those releases get an extra push after a while, allowing them a chance to resurface, gaining back some of the attention that they deserve.

FIM’s “Alien Beach Party” is one such release. The 12″ EP initially came out back in early June of 2013, but is available now for purchase on limited editioin vinyl (yes, it’s still available), or download (name your own price).

Even though everything that I’ve read about the band makes use of the “psychedelic” designation, I am going to have to respectfully disagree with such labeling. To me, as far as the lead track “Fast Cars” goes, there is definitely more of a pronounced new wave/dancey vibe to it. Dark synths that sound more like old Casios than analog synths, drum machine, and off-kilter vocals really make that track sound like something straight out of the early 80s.

FIM
FIM

When the bass picks up on “Shit God Dam,” throwing down some aggressive, minimalist proto-punk bass in combination with the drum machine now taking a turn toward Big Black territory we can hear the band moving away from that new wave sound a bit. Maybe it’s a little less catchy than “Fast Cars,” but it features a bit heavier on the harmonic and melodic dissonance, which is a good thing.

The remainder of the EP features similar branching out, from the bedroom production of “Believe,” that may be trippy, but “psychedelic” still does not come to mind. And closing the album, the “Flaming Lips” ala “Approaching Pavonis Mons By Balloon”-esque 6 minute synth jam just takes everything in a whole wonderful new , and somewhat unsuspected direction.

So, they have already proven themselves worthy by rising up through all the noise of the oversaturation running rampant in indie-music today. The good news is that you don’t have to wait, or pre-order the EP, it’s out now. Check it out in full above and then head to the bandcamp page.

FIM has a show coming up at the end of the month, if you are in or around their hometown area of L.A. then get down to The Satellite on February 24th to check them out. Many links below:

Web//Facebook//Bandcamp//Twitter//SoundCloud//Youtube

2014, albums, Bandcamp, music, reviews

Stream: Nothing – “Guilty of Everything”

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Add another band to the list of “ungoogle-able bands.” They’re in good company though. I mean, Women is one of my favorite bands of all time and they are tricky/impossible to do a google search on.

So many thoughts and memories came rushing to mind as soon as I started listening to this Nothing album. Shoegaze is, to start off generally, one of the first and most noticeable characteristics of Nothing’s sound.  But it’s not all just a My Bloody Valentine cloud of distortion. Inside that wall is a concentrated core that contains so many recognizable elements.

Hum, The Smashing Pumpkins, Longwave, all of these emerge from Nothing (the more I mention the band by name the more it sounds like I am making some lofty philosophical statement: “they all emerge from Nothing.” Or maybe it would be better to say “they all emerge from the sound of Nothing.”)

The hushed vocals, thick power chords, persistent focus on one long drawn out harmony like the band is carving a path through a thick, dense fog, all coming out of the shoegaze tradition. But, this isn’t a bad thing. No bands are out there really doing the same thing. I suppose We Were Promised Jetpacks is going for an approximation of the same aesthetic, but really the details are quite different. Nothing re-presents shoegaze in much the same way that Yuck re-presented grunge with their first album.

“Guilty of Everything” is dark in tone, which is unavoidable given the parameters. There is something slightly sinister, or at least ominous about that combination of relaxed, whispered vocals and a barrage of loud guitars. One can’t help but have a visceral reaction. You get pulled into the music listening intently to the vocal, which in turn results in getting lost inside the sound of that barrage of guitars.

And the quieter moments shouldn’t be overlooked. I’m reminded of some of the more introspective moments on “Siamese Dream” like “Mayonnaise”  or the end of “Hummer,” throughout the titular track of this album. Moments that work to just pull the listener in with ringing open strings that cut through the wall of guitars; feedback that squeals uncontrollably for a few seconds in the background–it’s all here. Another distinct connection comes in the form of “You’d Prefer an Astronaut” era Hum that comes out loud and clear on “Dig” (listen to “Little Dipper” below to compare).

“Guilty of Everything” is certainly an entrancing debut that will resonate strongly with listeners who grew up listening The Smashing Pumpkins and My Bloody Valentine, but I’m sure it will also manage to draw a new crowd that may have missed the chance to experience those bands when they were first around (and not a shell of their former selves like they are today). Nothing still has a few shows coming up in March, while their debut album is set for release on March 4th through Relapse Records. Check the links below to pre-order the album and to connect with the band all over the internet.

Bandcamp//Twitter//Facebook//Web//

Upcoming shows:

Mar 12 Austin, TX Relapse SXSW Showcase @ Dirty Dog

Mar 16 Dallas, TX Spillover Music Fest @ Club Dada & Three Links w/ Ty Segal

2014, albums, music, news

Guided By Voices – “Motivational Jumpsuit”

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Well, here it is. This is going to be the most useless post that I have ever written.

Why? Well, because if you are a Guided By Voices fan, then you are a fanatic. I really don’t think that there are any casual GBV fans out there. This is just one of those bands. Shellac is another, and maybe Stereolab is yet another. The point is, they are all bands that inspire completist culture. And, Guided By Voices tends (or at least tended to) take advantage of this by releasing about 50 albums a week. Or maybe it’s more than that. I think at this point basically every sound that Robert Pollard has ever made has been recorded and some fan somewhere is in possession of it, listening to it with their equally fanatical friends, analyzing it, fitting it into the larger picture of Guided By Voices apocrypha, and then insisting that everyone around them listen to it. The point being: the internet doesn’t need a review of a Guided By Voices album. The only the internet needs to do is to let people know that there is a new Guided By Voices album coming out. That’s it. And it only needs to be said once.

Guided By Voices doesn’t need album reviews anymore at all actually, their fans are going to buy it. I would be willing to bet that the band has sold the exact same number of albums for the past 10 releases. And if Robert Pollard and co. released a cassette tape recording of the band discussing the weather, it would sell just as well.

Of course these are my own very biased opinions. In reality I do know that there are some really amazing GBV albums and songs. The first album of theirs that I ever had (bet you didn’t see that coming. That I was going to reveal myself as a GBV fan) was “Universal Truths and Cycles.” Not too long afterward the band released their “final” album “Half Smiles of the Decomposed.” It looked like they were going to go away forever, but we know now that that is very not true.

Well, now they have re-formed. There has been drama, excitement, thrills and chills, and I’m sure that this album is going to carry on the trajectory.  Hit. Miss. Too much. Whatever. Rob Pollard can certainly be prolific that much is true. But say what you will, the guy can sure write a tune. Often times those tunes are tightly packed into 2-minutes or less. Get in, say what you gotta say, and get out. Don’t overstay your welcome. What other band can fit a catchy, exciting verse-chorus-verse-outro into a 35 second long song? And on top of that who would dare to make that the first track on the album? Answer: none. (see: “Wire Greyhounds”). That right there sums them up. That is the thesis behind Guided By Voices. But they aren’t just cranking out songs in less than a minute. When they do stretch out with a song that is over 2 minutes, or sometimes even pushing closer to 4 (“Christian Animation Torch Carriers,” for example) they can really floor you.

Anyway, they have a new album coming out. Here’s a link. February 18.  CD/LP/MP3/FLAC.

 

2014, albums, miscellaneous, music, thoughts

In Memoriam Sonic Youth XII: “Murray Street”

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“Murray Street,” to me, feels like a resurrection of sorts for Sonic Youth. This undoubtedly has a lot to do with the fact that after several years away from the band, completely missing out on “A Thousand Leaves” and “NYC Ghosts & Flowers,” I got this album from my brother for my birthday and started listening to them again in earnest. It was like starting to talk to an old friend again after having a huge fight.

And so many of the elements of Sonic Youth’s songwriting that were missing from the (what I thought at the time were) way-too-high concept of the previous two albums, return here on “Murray Street” in full force. It’s a return to structure, or as much song-structure as Sonic Youth could ever return to; there’s more of a focus on filling the space with guitar driven harmony and melody; more of a focus on all of the band’s strengths, basically. One could Listen to “Washing Machine,” skip over the next two albums and go straight to “Murray Street” and not really have missed much in the way of an evolution. The two albums in between have their strengths and their weakness, of course, but aside from that they just sound as though the band had veered off course for a bit. Again, the insertion of the SYR recordings probably have a lot to do with that.

 


We’re picking up right where we left off now. In that time away the band had added Jim O’Rourke to the official lineup, which brought in some more complex compositional forethought to the writing process, and if I’m remembering my Sonic Youth trivia correctly this was something that drove Thurston a little crazy because it slowed the whole writing and recording process down. Anyway, that’s something to consider I guess, but it really has nothing to do with my experience of the album.

I just remember that when I got this album it was during my first year away at college, it had come out only a few months before I started. At the same time that I was re-acquainting myself with Sonic Youth I was discovering an entire world of music that I had never even heard of before. This was around the time that I discovered the music of Charles Ives, John Cage, Stravinsky and so many others that are staples in my regular listening now. Everything was starting to make a little more sense to me now. I was starting to be able to put together where all of these ideas and sounds were coming from. At the time I didn’t realize just how many gaps existed in my knowledge of music in general.

Listening to “Murray Street” again now I can clearly hear the beginnings of ideas that turn up in slightly varied form on “Rather Ripped,” which would come out 4 years later. The one thing that jumps out at me right now is the tuning of “Rain on Tin” sounds to be the same as the tuning used on “Pink Steam.” There are a lot of similarities in those two songs.

The album is definitely more subdued than material found on “Experimental, Jet Set, Trash & No Star,” and there certainly isn’t anything as cacophonous (nor as epic and brilliant) as “The Diamond Sea.” It’s a new phase of Sonic Youth. They seem less focused on creating as much noise as possible, and more interested in carving out interesting and dare I say it catchy melodies.

I still enjoy “Murray Street,” and when I listen to it now all sorts of memories of my first years away at college come flooding back, which was a good time for me. For maybe the first time in a decades I felt as though I was succeeding in something, and feeling comfortable doing it. It’s similar to how I think I was feeling when I first started listening to Sonic Youth. I guess that at this point it was good to welcome them back. And now that we were becoming re-acquainted I was learning to listen to music in an entirely new way. Neither one of us needed non-stop action, aggression and noise to hold our interest any more. And this is the reason that I started writing these entries, is because that connection of growing up with the band holds true all the way through to the end.

Up next I continue through to the final phase of the band with their final 3 proper releases.

2014, week in review

Week in Review: February 3rd-7th, 2014

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Here’s what went up on the blog this past week:

Monday: Continuing to trace a path through Sonic Youth’s entire output. This week featured a critical re-evaluation of “NYC Ghosts & Flowers.”

In Memoriam Sonic Youth XI: “NYC Ghosts & Flowers”

Tuesday: Guitar wall of noise master and symphonists Glenn Branca’s first solo release, “Lesson No. 1” gets a re-release on Superior Viaduct.

Re-release: Glenn Branca – “Lesson No. 1″

Wednesday: Check out some stoner/doom metal from Belzebong as well as a track featuring the Sabbath-esque stylings of Green & Wood.

Stream: Belzebong – “Dungeon Vultures,” Green & Wood – “Blind Seer”

Thursday: I talked a little bit about what drives me crazy about reading music blogs and a little more about navigating through a sea of unknown music.

Some thoughts on the state of music blogging

Friday: Finished off the week with a new track by Chad Vangaalen from his forthcoming album “Shrink Dust.” Definitely looking forward to this one.

Stream: Chad Vangaalen – “Where Are You?”

 

2014, albums, Bandcamp, music, news, songs

Stream: Chad Vangaalen – “Where Are You?”

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It’s been a few years since we’ve really heard anything from Chad Vangaalen, and the void has been noticeable, at least to myself. In my opinion, Vangaalen released one of the best albums of 2011, not to mention one of my favorites that has held a place of heavy rotation on my turntable since before it saw official release, the strangely titled “Diaper Island.” I can’t help but think of him as the Canadian Steve Albini, not because of his outspoken nature or aggressive attitude (because he is neither outspoken nor aggressive), but because his production style is immediately recognizable as his own. His fingerprints are all over Women’s “Public Strain,” undoubtedly one of my favorite albums of all time. And since “Diaper Island”s release the only thing that we’ve gotten was an EP (an EP, by the way, that was as long as some albums, and just as good) released through Altin Village, which is also worth checking out if you haven’t already.

The new track, “Where Are You?” features Vangaalen’s quavering and distant voice that echoes through the din of reverberant drums and guitars wrapped up in ominous synth tones.  It’s doing the job that it is supposed to do, that being getting me excited to hear more new material. His forthcoming album, “Shrink Dust” (cover art seen above) is set to be released on April 29th on SubPop.  And speaking of that “Green Corridor” EP, from the tracklisting posted to Consequence of Sound, “Weighed Sin,” the EP’s standout track, will appear on “Shrink Dust.”

As an addendum, as I was searching through the internet for this post I came across some stuff of Vangaalen’s that I hadn’t heard before. Apparently after “Diaper Island” was released, an EP was also released containing out-takes. “Your Tan Looks Supernatural” is posted to the artist’s bandcamp page that apparently hasn’t been updated in several years. There isn’t anything too exciting here, but the songs are worth a listen for the completists out there. That one can be downloaded immediately for as little as $5 CAD. You can listen to that below.

And finally, there will be a very small tour in support of “Shrink Dust” beginning in May in the US. Details about that can be found at the Consequence of Sound post.

 

 

Chad Vangaalen//Facebook//SubPop//

2014, miscellaneous, personal, thoughts, writing

Some thoughts on the state of music blogging

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This post was originally going to veer into a discussion of a particular group of songs that I thought were worth talking about, but ended up developing into something completely different and I think that it works better as a stand alone piece. These are some of the things that I have been thinking about lately, perhaps spurred by my frustration with music blogs in general. I have read so many negative reviews (which are pointless for all involved) as well as many very poorly written reviews and other pieces about music that attempt to cover up the author’s lack of musical knowledge through convoluted verbiage. There are specific things that I could cite, and I will do so at a later time, but for right now I think that I am just going to let this stand as is and get back to the actual music tomorrow.

 

There are pretty much only two ways to get my attention music-wise. Despite sounding like the completely opposing ideas of beauty and aggression, I think that the best way to wrap these things up together would be under the umbrella of “visceral.” Something that is quiet can be visceral, though it seems people typically use the word to refer to something that is unusually aggressive, or overbearing in general. But really it’s about feeling something either way.

Leave cerebral music to those that don’t know any better; leave it to those that can’t figure out how to say anything other than “look how smart we are and how complicated our songs are.” Even early Genesis, the most proggy of the prog, had some deep emotion running through a lot of their songs (though not all of them, I mean they did write an entire song about a giant hogweed after all.

But, the point is, and I do have a point, is that when I hear a song I almost instantly know whether I am going to like it or not. I’m not saying that I make snap judgements that are completely biased one way or the other, but I have listened to enough music to be able to tell when something is not going to have anything to offer me. At a certain point you just have to figure out how to do it and how to do it fast. Better that than sit through something for an hour just because you feel like you have to. A lot of times I can tell just from the ambiance around the first second or two of a song, especially if there are some drumstick clicks to count off. It’s easy to hear if something is going to be overproduced from that sound alone. If something is overproduced, and by that I mean surgically recorded, hermetically protected from any environmental sounds, then I am almost positive that I am going to have no interest in listening to it no matter how good the “song” is. Because, and bands need to figure this out, there is a lot more to writing a good song than the chord progression and the melody. As soon as you think about those things too much you are sunk.

Recording something in a deadened studio is like telling someone that you love them for the first time via text. There’s no emotion. The music needs to express something, and not through the use of overwrought bad teenage poetry. Make a connection, a real human connection. That is what music is all about.

And maybe this all sounds too heavy handed, and maybe you haven’t even read this far down, but if I get another email from another band that is trying way too hard, well, I don’t know what I am going to do. I can tell you what I am not going to do though, I am not going to pollute the rest of the internet with it. A lot of filtering happens, and I’m not ashamed of it.

There’s actually another thing that I am not going to do, and that is spend an evening writing about how much a specific album is terrible, detailing the ways in which it is. Sure, I could do that (and there are plenty of sites that do) but what would be the point? Throwing stones is easy. It’s easy because it takes very little knowledge and makes the writer sound like they know a whole lot more than they actually do. Why not just say nothing? Listen to as much of the song or album as you need to make a decision on whether or not it is worth listening to and if it is then you should happily share it with everyone. On the other hand, if you just can’t get through the song or the album, simply stop playing it and don’t listen to it anymore. That’s what everyone should do. Why waste your time and the time of others?

2014, miscellaneous, music, songs

Stream: Belzebong – “Dungeon Vultures,” Green & Wood – “Blind Seer”

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I’ll admit that I tend to get a little bit bogged down in the details from time to time. It’s part of my job, and part of who I am, so sometimes I can’t help it. As a music theorist I’m always trying to dig deeper into the function of every single note and looking for patterns and so on and so forth.

Sometimes, though, it’s just good to listen to some instrumental sludge/doom/stoner metal to really take my mind off of all the other music that I should be thinking about. I think that part of what allows me to do this is the kraut-rock-ish plodding of the low, droning, open strings, that sort of lulls me into a calmer state of being. One wouldn’t normally think of doom metal as being particularly relaxing, but then again I’m not exactly the gold standard of normativity either.

That timbre, the thick crunch of a guitar’s wound strings processed through about 10 Marshall stacks with the bass doubling everything an octave below, that’s what it’s all about with this music. That and the riffs. Something about it, and even after years of trying I’m still not able to figure out exactly what it is that does this, but it feels as though not just the music is going in slow motion, but all life around the music is going in slow motion. That definitely makes the genre worthy of the label.

The way I see it, all stoner metal/riff rock starts with Black Sabbath.  It’s basically proto-metal, but it started out nearly fully formed. Take a riff, smother it in thick distortion and play it until your fingers bleed. Over and over and over again. Poland’s stoner/doom metal Belzebong has that thick crunch down. I think the guitars are tuned down to what sounds like a C, though to be honest it is kind of difficult to discern pitch when things get so low, and then put on top of that the distortion and the fact that the chords are all root-fifth-octave. Things get muddy. The track, “Dungeon Vultures,” doesn’t cover too much territory across its 14 minutes, but I’m definitely not complaining. Some artists make 5 minutes seem like an eternity, but this 14 minutes goes by, I wouldn’t say quickly, but it certainly doesn’t feel like nearly an entire album side. “Dungeon Vultures” was recorded last year, and is limited to only 500 copies, there are still some available Check out the track below.

Green & Wood - "Devil's Plan"
Green & Wood – “Devil’s Plan”

After enjoying your 14 minutes of dirge and distortion, you can pick yourself up again with the closer-to-standard-tuning, comparatively swinging and bluesy riff-rocker “Blind Seer” by Green & Wood. This one’s a little more in the realm of a standard tune: under 5 minutes and with sneering vocals. I still can’t shake the feeling that, though not as sludgy, or doom-y, that an air of kraut-rock sensibility still exists. We’re reminded of the Black Sabbath connection at about the 2:40 mark, as the song chugs into a very Tony Iommi-esque breakdown. You can check that one out below.

“Blind Seer” appears on Green & Wood’s 2011 release “Devil’s Plan.” It seems like it’s a bit hard to find, but there are a couple copies floating around if you want them.

Belzebong is on tour throughout Europe right now. Dates can be found at their bandcamp.

2014, albums, music, news, reviews

Re-release: Glenn Branca – “Lesson No. 1”

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Whenever I think about Sonic Youth (which is a lot, as you can probably tell) I can’t help but link it all back to Glenn Branca. When I was first introduced to Branca’s work I came to think that he is where Sonic Youth got all of their ideas from. In Branca’s symphonies appear the larger (much larger) versions of Sonic Youth’s descents into chaos. It’s not that just those parts recall one another, but the guitar tone in general, and the visceral, defiantly experimental energy all do as well.

I’m sure by now that the two are sick of being linked to one another, as both have gone in completely different directions; Branca’s language has drawn him to increasingly bold ideas of gargantuan scope, while Sonic Youth (before their dissolution), for the most part, went the “song” route.

But Branca’s work is not all captured in his symphonies. In 1980 he released his first solo work, “Lesson No. 1” that featured two tracks, that is one for each side. Side A consists of a single chord, gradually and continually growing, adding little bits and pieces while the static harmony remains. It’s similar to his later, larger, symphonic work, yet distilled to the basic essence. Minimalist music with distortion. It’s a mix of several conflicting ideas; meditation and tension, focused and loose, contemplative and aggressive, celebratory and intimidating. It’s all there, packed in to 8 intense minutes.

Something completely different is found on the B-side. The contemplation and focus derived from the steadily growing and singular harmony has given way to a jagged part structure, increased dissonance and pounding percussion. “Dissonance” is exactly what it says it is, wild and aggressive, grinding, dissonant. Where “Lesson No. 1” continually picked up the pace, growing to massive proportions, “Dissonance” chugs to a near halt, with the ominous bass and drums beating out “and-1, and-1, and-1” throughout. Melodies clash and ring, strings rattling against guitar necks, psychotic strumming on the high strings play against the low wobble and tenuous pitch of a 2nd guitar. Everything explodes in the end, and one can just picture various scattered bits of wood and metal where drums and guitars once were.

Thankfully all of this beautiful early (No) New York is being resurrected, and rightfully so. It’s really important that music like this, that was way ahead of its time in its brazen originality, gets another release. Though collecting old and rare records may be great for some, there are also those people that just want to have it for their own for the first time. People need to experience this music, no matter how they came to it, and now they can. And, of course, to bring everything back full circle to Sonic Youth, Lee Ranaldo and Thurston Moore were two of the guitarist used in the “bonus” (you can think of it as a bonus, but really it was originally a separate release entirely) track “Bad Smells,” another side-long expedition into the noisier side of things, though those noise filled moments only last so long before an awkward, stilted kind of groove begins to set in.

Superior Viaduct is re-releasing “Lesson No. 1” in an expanded edition, set to hit stores on February 18th. It’s currently available for pre-order from the label. You can hear “Lesson No. 1” on the pre-order page of Superior Viaduct. Give it a listen and then scoop up the vinyl.

2014, miscellaneous, music, personal, thoughts

In Memoriam Sonic Youth XI: “NYC Ghosts & Flowers”

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Well, this is the first time that I have had to actually listen to a Sonic Youth album for one of these posts so that I could actually talk about some of the music in detail. If you’ve been reading the previous posts from this series then you’ve read about how it was around the time of A Thousand Leaves where Sonic Youth and I were going through a separation. Well, during that separation this album came out and when I finally got it I had no idea what the hell to even do with it.

My memories of this album were buying it much later, I think in about 2003 or so, because I had been listening to “Murray Street” a lot by the time I finally heard any of these songs. But other than that I don’t have any particularly vivid memories about the album. I just remember over the years trying to get into it. I remember putting it in the CD player in my car and just leaving it in there, hoping that something would jump out at me and stick, something that would give me a foothold. But, after listening and listening I just cast it aside. For some reason, and this doesn’t happen that often, or hardly ever, really, but the only parts of the album that stuck with me were the “awful” parts. I mean, they aren’t objectively awful, they are just things that make me cringe kind of. Maybe I’m cringing because I’ve practically grown up with this band and I felt like I didn’t even know them anymore; maybe I was starting to question if I should have ever really loved them in the first place. I’m not sure, but that is definitely what kept me away from this album for pretty much a decade. Until this evening, listening to it in anticipation of having to write this post and realizing that I didn’t think that I was going to have anything to say about it.

You’ve probably read the “famous” review of this album on Pitchfork. I won’t link to it, you can find it on your own if you really want to, but they gave the album a o.o rating. Now, that’s different from a 0.0, you see? It’s less. Basically they were saying that not only was this the worst Sonic Youth album, but it’s maybe one of the worst albums that they had ever heard, which I fail to believe. I also think that back then (and continuing to this day) Pitchfork survives partially on sensationalist stunts like this to help bring in people that may not normally go to their site (like their review, also famous, of that Jet album. Did they really need to do that? People don’t come to Pitchfork to read reviews of bands like Jet. Was that them simultaneously trying to show their diversity and acceptance of all forms of music, while still allowing themselves to be pretentious assholes? I think so, yes).

After listening to this album, I mean really giving it a deep and thoughtful listen so that I could write something un-biased or inflammatory for the sake of being inflammatory, I realized that it really isn’t as bad as I (or Pitchfork) previously thought it was. Considering what it is that they were doing at the time (another 2 SYR albums, nos. 4 and 5, had been released between “A Thousand Leaves” and “NYC Ghosts & Flowers”) and where they were in their career, I think that this was a pretty reasonable way to go. Now, of course, I can only speak for myself. I can’t imagine what anyone hearing Sonic Youth for the first time with this album would think. I can’t even imagine what someone that happened to get into Sonic Youth only since they signed to DGC, someone that hadn’t dug into their back catalog, what would they think? It’s insane to think that this came out on a major label, and not only that, it is insane to think that this came out on a major label and that that label didn’t drop them immediately afterward. Let’s be honest, this isn’t the kind of music that is really going to be getting a lot of radio play, none of these songs would be able to be used for commercials or anything like that. There is no “Bull in the Heather” on this album.

There are, however, some pretty good moments on the album. Lee’s sole track, sharing its name with the album, is definitely a highlight, and the noisiest point on the album. To be fair though, Thurston’s “Small Flowers Crack Concrete” is a tough one to get through. I mean, this also isn’t the best review of the album. The most that I can muster is that this album is “ok.” But really what I’m saying is that this album really isn’t as bad as everyone thinks that it is. It’s a grower. You have to listen to it several times, maybe over the course of 14 years just periodically trying it out, in order to find things that are worth checking out.

Although, putting on “Murray Street,” one can immediately realize what it was that this album was missing after all…