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Sonic Youth – Simon Werner A Disparu OST

Sonic Youth Recordings

I can still remember the electric thrill that jolted through me on first seeing the picture of Sonic Youth on the rear cover of Bad Moon Rising: clustered around that Ed Gein Halloween scarecrow, under a bruised mid-Western sky, the look of sneering distain on Thurston Moore’s face beneath his thatch of blond hair, awkward yet threatening in his combat jacket. The feeling was crystallised by the album’s closing track, “Death Valley ‘69” – here was a new Manson Family, armed this time not with guns and knives and Charlie’s warped charisma, but with matched pairs of detuned guitars. I knew, as soon as I saw and heard them, that Sonic Youth were MY THING, NOW. I didn’t have to continue to curse the stars in the sky that I had been too young to see Syd Barrett play

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Sonic Youth – NYC Ghosts & Flowers

Label: Geffen Format: CD,LP

NYC Ghosts & Flowers - sleeveThis album marks yet another, slightly revised, slightly more reflective return in sound for Sonic Youth; all the way back to the rugged melodic scamblings of Daydream Nation. With their amazing capacity for distinction of sound, SY are immediately recognizable from the first stretched note, thoough they seem to have done some house cleaning and root searching for NYC Ghosts & Flowers. New York should be so proud to have this album as a tribute to its grimy real side.

Bastard guitar layers are as liberal as we want the band to give and the songwriting within is masterful power-minimalism at its best. Kim Gordon is in top form with her sarcastic breathy singing and Thurston Moore and Lee Renaldo proves themselves poets as much as string-benders as always. Is it a little bit of

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Sonic Youth – Goodbye 20th Century

Label: Smells Like Records Format: 2CD

Goodbye 20th Century- sleeve The century may still have about a year left to run through, but Sonic Youth have decided to take time to consider and pay tribute to their ancestral experimental roots on this double CD of less-than rock music. Built in earnestly engaged (but obviously joyful too) collaboration with old and new friends and musical relations Jim O’Rourke, William Winant, turntablizer Christian Marclay, and composers Takehisa Kosugi and Christian Wolff (and lovingly recorded by the estimable Wharton Tiers), there’s much interpreting of pieces by luminaries of the (predominently American) avant-garde including Nicolas Slominsky, John Cage, Cornelius Cardew and Steve Reich.

Pauline Oliveros‘ specially-composed “Six For new Time” is rendered with a combination of gusto and simple hypnotic bliss developed from the pleasures of transforming repetition into an electric mantra, perhaps unsurprisingly the piece which resembles

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