Daydream Nation

Sonic Youth

album cover

New Rock Ecstasy

"It takes a teenage riot to get me out of bed right now." With these words, from the opening track of this highly influential double album, Thurston Moore articulates the basic stance that has served Sonic Youth for decades: In tones both ironic and openly derisive, the New York art-punk band positions itself at a lofty remove, away from the squall of everyday rock culture. Four contrarians fed up with the posing and the hype that ruled rock in the 1980s, they're suspicious of scenesters and fads. Yet they're still fans. They hold out hope for new rock ecstasy. Amazingly, this album actually helped inspire some: After grunge erupted in the early '90s, many of its key practitioners, including Nirvana's Kurt Cobain, identified Sonic Youth as a primary inspiration.

Sonic Youth had been recording for six years when it made this radical racket. The band began in the early '80s, blasting the rock status quo with tools borrowed from guitarist and noise-manipulating composer Glenn Branca. Gradually Moore, bassist Kim Gordon (his wife), guitarist Lee Ranaldo, and drummer Steve Shelley came to appreciate the benefits of song form, and by this album had arrived at a potent meta-rock, in which bludgeoning guitars and swarming-insect drones support disciplined shouted refrains.

This is a different kind of teenage riot: After delivering its snarly vocal harangues, Sonic Youth dives into unruly long-form guitar explorations that are the real meat of the album. These are headstrong and improvisational; Among the most breathtaking are "Rain King," which describes an eerie utopia, and "Silver Rocket," an extended foray into corrosive noise. For all the off-kilter chaos, Sonic Youth exhibits an attraction/revulsion complex with classic rock. Its songs glance at such established figures as Jimi Hendrix, Joni Mitchell, and Neil Young, suggesting that these insurrectionists do, on some level, have respect for their elders.

Genre: Rock
Released: 1988, Blast First (Reissued 2007, Geffen)
Catalog Choice: Dirty; Goo; Washing Machine
Next Stop: Smashing Pumpkins: Mellon Collie and the Infinite Sadness
After That: Nirvana: In Utero
Book Page: 726

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#1 from Matt, Washington, DC - 10/26/2008 1:52

Okay, so I understand you have to include Nirvana’s ‘Nevermind’ and Pearl Jam’s ‘Ten’ to cover the bases on your classic 90’s grunge albums. Then you add Sonic Youth and Pavement albums to show that you are capable of meandering off of the well-trodden mainstream. Can you then explain how you picked Alice in Chains yet neglect ‘Siamese Dream’ by the Smashing Pumpkins? The Pumpkins are constantly overlooked and undervalued, once again.

#2 from Adam Herbst, New Jersey - 11/24/2008 7:56

The cover version of Within You Without You that appeared on Sgt. Pepper Knew My Father is on the Deluxe version of this album and is well worth the extra cash.

#3 from tom moon - 11/25/2008 10:47

Thanks for those comments….

re the Smashing Pumpkins question from Matt from DC (hey! I’m there at Melody Record Shop on Monday 12/1 from 5-7 pm! pls stop by!).

First I feel it necessary to say the book covers more than just the obvious ‘90s stuff—incl Mother Love Bone, Screaming Trees, etc.

When I went back to consider the Pumpkins, I was surprised by a few things: some songs were still electrifying, and some seemed to take for…ever….to….end. lots of frenzied vamping where the music doesn’t really go anyplace new.
then there’s the not-small problem of Billy Corgan’s bratty whine. hard to take when listening to it over the duration of a full album. for me, the voice undercuts and somehow scars the band’s best moments—parts of MellonCollie and Siamese Dream.

tm

#4 from Dave Lundeen, Chicago, IL - 12/29/2008 12:24

Tom,

I agree with your take on Smashing Pumpkins.  As a work of disciplined studio recording, Siamese Dream shows some great work (I read somewhere that Cherub Rock has something like 67 overdubbed guitar parts), but in the end the lyrics and voice are pretty whiny and vapid, and the instrumentation is just cool as noise qua noise, not as memorable or extraordinary music.  It has not aged well.

I’m really enjoying your book and have enthusiastically recommended it to many others.  I noticed that you picked Rain Dogs as the Tom Waits record to include—did you give consideration to Frank’s Wild Years?

Best,
DL

#5 from tom moon - 12/30/2008 10:56

Dave….

Thanks for your comments…I’m curious to hear if others who love the Pumpkins have a similar reaction when going back to those records.

re Waits, I revisited a bunch of the obvious records—Foreign Affairs, Swordfishtrombones, Nighthawks at the Diner, Frank’s Wild Years and the later ones too. they’re all incredible. I felt Rain Dogs was an ideal “first encounter” but of course I hope that curious listeners go both back to his early works and forward to the more recent material…

tm

#6 from Fred - 01/18/2009 2:32

You need Sister as well. That was one kick-ass album.

Soundgarden—you require Ultramega OK and Badmotorfinger.

Velvet Underground—all

Husker Du—New Day Rising

Kyuss!

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About 1,000 Recordings

Celebrate the joy, the revelation, the mystery, the fun, the sheer shivers-up-the-spine pleasure of great music.

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