parody by nacrowe
check out HERE this recent streaming video episode of DEER GOD RADIO celebrating the EXPERIMENTAL NEW YORK CITY-based, NO WAVE-influenced INDIE ROCK institution that was SONIC YOUTH!
past episodes of DEER GOD RADIO are available here at the DEER GOD website as well as in the MAKERPARKRADIO.NYC archives.
and if you haven't done so already get the FREE PHONE APP for IOS/ANDROID and enjoy listening to MAKERPARKRADIO.NYC 24/7 at your convenience!
photo & text by nacrowe
what i always appreciate about the EVOL (SST, 1986) record by SONIC YOUTH is how their NO WAVE-inspired DISSONANCE is seemingly channeled inward creating an INTERIOR emotionally-charged AURAL LANDSCAPE. when i first heard the record in my late teens it felt like the soundtrack to all of the INTERNAL CONFUSION, DOUBT and INSECURITY i was experiencing at a key transitional period of my life. for me its that profound sense of INTERIORITY that marks this record.
some would argue that SONIC YOUTH during this period was a bit MEANDERING and MELODICALLY INCONSISTENT on key tracks like "SHADOW OF A DOUBT," "TOM VIOLENCE," "EXPRESSWAY TO YR SKULL" and "GREEN LIGHT," but for me this hesitancy to fully commit to TUNEFUL, RECOGNIZABLE SONG STRUCTURES is what makes it such an IMMEDIATE, ENGAGING listen. its almost as if the band through IMPROVISATION is exploring and mining an EMOTION in real-time. much as the work of artist RICHARD KERN, whose work is used for the EVOL cover art, blurs the line between PORNOGRAPHY and ART, VULGARITY and AESTHETIC REFINEMENT, even EXPLOITATION and AGENCY; such is the same with SONIC YOUTH and their COMPLICITY on allowing the audience to view them in a moment of VULNERABILITY.
i can recall listening "SHADOW OF A DOUBT" in SACRAMENTO my senior year of high school a few months after leaving my family abroad in the MIDDLE EAST and living with a relative to close my high school career. at the time i felt SOCIALLY ISOLATED and CULTURALLY DISTANT from my new classmates and community. that song in particular made all the big questions surrounding LOVE, DEATH, SEX, ART, PAIN and FATE seem like the same thing. if this is it then life is not worth it. makes total sense that DARK WAVE band BLACK TAPE FOR A BLUE GIRL covered that song in the early 2000s with a similar interpretation in mind.
SONIC YOUTH and their strong embrace of DISSONANCE and ATONALITY is a tough sell for listeners used to MELODIC COHESION and TRADITIONAL SONG STRUCTURES. but such difficult creative constraints and artistic risks are what i appreciate about the band, plus the music mirrors how i experience life in general. such being CHAOTIC, RUDDERLESS with no clear purpose. EVOL is pure expression of that NIHILISTIC SENTIMENT and is a cultural and artistic touchstone for me in general when life is moving in that direction. other subsequent records proved to be more MELODIC, COHESIVE and expertly constructed, but EVOL to me is very much about a vibe and state of mind, an INTERIOR SPACE that EMOTIONALLY envelopes to the point of SUFFOCATION. required listening in my opinion.
photo & text by nacrowe
much like their contemporaries DINOSAUR JR, PIXIES, THE REPLACEMENTS, R.E.M. and THE SMITHS in the 1980s INDIE ROCK scene, SONIC YOUTH is a seminal band whose expansive sound essentially exploded the sonic palette and listener expectations of what was acceptable and possible within a band context. arguably DAYDREAM NATION (ENIGMA, 1988) is their finest achievement and a proof of concept for their tunefully crafted WHITE NOISE.
to understand their musical point of view, you have to look back at the NO WAVE scene that happened just after the peak of the downtown NYC PUNK ROCK scene that birthed the likes of THE RAMONES, PATTI SMITH, TELEVISION, BLONDIE, DEAD BOYS and TALKING HEADS among many others. the NO WAVE consisted of experimental musicians who took the cue from the PUNK scene and took the sonic avant-garde tendencies much much further (incorporated EXTREME DISSONANCE and angular, jagged sonic JUXTAPOSITIONS with nontraditional song structures) and in many ways pointed the way towards modern-day EXPERIMENTAL music (POST ROCK, AMBIENT, etc). bands from the brief NO WAVE scene include the likes of SUICIDE, TEENAGE JESUS & THE JERKS, DNA, SWANS, THEORETICAL GIRLS, DINOSAUR L and MARS among others.
essentially SONIC YOUTH took that sonic EXPERIMENTALISM and love of unyielding DISSONANT TEXTURES and placed them almost oxymoronically within a traditional pop context with recognizable song structures. it is a formula that initiates the listener into accepting a new SONIC VOCABULARY while contextualizing such within a framework they can recognize. arguably the best examples of such on DAYDREAM NATION include the two singles "TEENAGE RIOT" and "SILVER ROCKET," both displaying a hazy, YOUTHFUL ENERGY amidst a fog of dueling distorted guitars courtesy of THURSTON MOORE and LEE RANALDO.
vocally bassist KIM GORDON and MOORE present an odd coupling, but it absolutely works. MOORE has a juvenile delivery that sounds both NAIVE and forward-looking as he bellows over an uneasy bed of undulating and interweaving guitar textures whereas GORDON comes off as the epitome of COOL DISAFFECTION. she never sounds as if she is anything but in total control. its an interesting role reversal of cultural constructed NORMATIVE VALUES associated with gender, especially within a rock setting. i am convinced that GORDON is the reason SONIC YOUTH became so influential, because as off-the-rails the sonic experimentation got (especially on earlier records), her voice and AUTHORITATIVE PRESENCE grounded the experience. its a real statement when you consider the blatant CHAUVINISM of the cultural scene during this period (including INDIE ROCK) and it makes it all the more crushing that MOORE outed himself years later as just another selfish creep.
DAYDREAM NATION is required listening. definitely worth checking out especially if you have any interest in INDIE ROCK and ALTERNATIVE ROCK or the preceding PUNK ROCK, POST PUNK and NO WAVE scenes that helped spawn it.
photo manipulation & text by nacrowe
there is nothing innately special about the concert film 1991: THE YEAR PUNK BROKE (TARA FILMS, 1992) on the surface.
filmed on tour in 1991 while INDIE ROCK icons SONIC YOUTH was on tour in throughout EUROPE, the film has the requisite backstage antics youd expect from an underground AMERICAN band playing overseas while it was still a novel experience. most of the live songs presented are from SONIC YOUTH, but there is also live footage of BABES IN TOYLAND, DINOSAUR JR, GUMBALL, THE RAMONES and NIRVANA.
and basically everyone who watches this film is well aware that NIRVANA was the band that broke punk into the mainstream shortly after this tour, not SONIC YOUTH. in that sense this film functions as a historical document of NIRVANA, and KURT COBAIN specifically, arguably at their peak before the pressures of success, fame and drug abuse slowly dismantled the group over the next three years. the fact that in this film COBAIN is not the focal point only makes it that much enticing as an portrayal of him during an enjoyable moment in time when he was surrounded by likeminded peers like KIM GORDON, J MASCIS, MARK ARM and the like overseas goofing off and introducing cuts off BLEACH (SUB POP, 1989) and the yet-to-be-released NEVERMIND (DGC, 1991) to new, unsuspecting audiences. watching that is that moment is the real treat of this film.
speaking of goofing off, there is way too much THURSTON MOORE rambling off bullshit throughout this film. at first it is charmingly annoying but by the end of the film it really is just annoying hearing him go off on tangents leading nowhere. but those pointless interludes in between concert footage only goes to show that this film was originally conceived as a SONIC YOUTH vehicle culled from their footage.
is an interesting historical document with some great live performances by legendary ALTERNATIVE ROCK acts, but if you are looking for something more substantial than definitely check out the documentaries HYPE (review linked HERE), PUNK: ATTITUDE (review linked HERE) and WHEN NIRVANA CAME TO BRITAIN (review linked HERE) for additional context.