Body/Head – No Waves (Matador album, 2016)

The duo of ex-Sonic Youth bassist / guitarist Kim Gordon and improv musician Bill Nace continue their Body/Head collaboration with the release of a live album recorded in Tennessee in 2014. Titled No Waves, this is more than just your typical live album, being a headlong journey into the outer edges of music’s malleable core.

I reviewed the album for Clash and you can read the review here.

(c) 2016 Mat Smith / Documentary Evidence for Clash

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Kim Gordon – Murdered Out (Matador single, 2016)

‘Murdered Out’ is a new collaboration by former Sonic Youth bassist / guitarist Kim Gordon and producer Justin Raisen, featuring Stella Mozgawa from Warpaint on drums.

The track was inspired by Gordon’s move to LA and her observation that so many cars were being resprayed to a black matte finish, a rejection of expected norms and an anti-corporate, anti-establishment, undeniably alternative approach to life. Like that attitude, ‘Murdered Out’ is anything but conventional; everything here is fuzzy, messy and utterly non-linear. Distortion is used with heavyhanded abandon, leaving this track with the same black matte finish that Gordon was originally inspired by. There’s no doubt that the style of the track was entirely conscious and not as loose as it perhaps sounds, but nevertheless Raisen and Gordon give ‘Murdered Out’ a messy, detached quality that’s refreshingly ugly.

‘Murdered Out’ is available on iTunes.

(c) 2016 Mat Smith / Documentary Evidence

Sonic Youth – Spinhead Sessions (Goofin’ album, 2016)


The full sessions for Sonic Youth‘s unused soundtrack to Ken Friedman’s movie Made In The USA have finally seen the light of day, some thirty years after they were recorded. In the UK the band had recently signed to Paul Smith‘s Blast First imprint and were about to release their seminal Sister LP after replacing Bob Bert on drums with Steve Shelley.

Despite the transition they were just about to make, Spinhead Sessions – named for the studio where these instrumental tracks were recorded – has more in common with the spooky atmospheres of their Blast First debut Bad Moon Rising.
I reviewed this for Clash. The review can be found here.

(c) 2016 Mat Smith / Documentary Evidence for Clash

Electronic Sound – Issue 18

  

Electronic Sound Issue 18 is now available, with a major focus on fifty years of electronic music, and as ever its delivered with the magazine’s usual depth of focus.

For the latest issue I reviewed albums by Africaine 808 (a crazy musical gumbo drawing from a whole world of sonic soundclashes), Duke St Workshop (a truly terrifying setting of horror writing by HP Lovecraft to electronics), Deux Filles (the long-awaited return of Simon Fisher Turner and Colin Lloyd Tucker), Wild Style Lion (dirty electronics with contributions from Sonic Youth‘s Kim Gordon and Dinosaur Jr.‘s J Mascis) and an improv set from Klaus Filip and Leonel Kaplan for trumpet and sinewaves.

Also in the magazine is a short feature I wrote on the acid- and Salinger-influenced duo The Caulfield Beats, and the third of my 2015 interviews with Erasure‘s Andy Bell, where he explains three of his foremost influences. Prepare to be somewhat surprised by what Bell was inspired by. I know I was pretty taken back.

Electronic Sound is available at the iTunes App Store or at electronicsound.co.uk

(c) 2016 Mat Smith / Electronic Sound

Sonic Youth – Hits Are For Squares (Geffen / Starbucks album, 2008)

Sonic Youth 'Hits Are For Squares' CD artwork

geffen / starbucks | cd 0602527781778 | 10/06/2008 | track listing

Hits Are For Squares is an almost career-spanning sixteen-track Sonic Youth compilation album. The album was released initially only in US Starbucks stores in 2008 in conjunction with Geffen, Sonic Youth’s home since leaving SST / Enigma (in the States) and Blast First (in the UK) following the release of Daydream Nation. Ignoring the obvious charges of ‘selling out’ by letting the mighty Starbucks put out a compilation album, what’s relatively unique about Hits Are For Squares is that the tracks themselves were all chosen by various celebrity fans (rubber-limbed Chili Pepper Flea, actress Catherine Keener, Pearl Jam’s Eddie Vedder and so on) or collaborators (Minutemen’s Mike Watt). Those choices, plus their reasons for choosing a particular track are explained in the liner notes alongside brief notes on the tracks and where they fit into the Sonic Youth back catalogue. And hey, the self-deprecating album title isn’t dissimilar to Hip To Be Square, the 1986 album from Huey Lewis & The News beloved by Patrick Bateman in Bret Easton Ellis’s American Psycho, and that’s always cool with me. Meanwhile, the sleeve looks like it’s trying to be an Edward Hopper portrait, the suit drinking his Starbucks coffee shamelessly reinforcing the commercial nature of this album. A ‘caffeine-free’ vinyl edition was released by the band later in 2010.

What’s immediately evident from the selections is that there are way more choices from the Geffen ‘commercial’ Sonic Youth period rather than their earlier independent label period, aside from firm fan favourites like ‘Teen Age Riot’ (from Daydream Nation), ‘Tuff Gnarl’ (from Sister), ‘Shadow Of A Doubt’, ‘Expressway To Yr. Skull’ (aka ‘Madonna, Sean And Me’) and ‘Tom Violence’ (all from Evol) and the earliest track here, the raw ‘The World Looks Red’ (from the Confusion Is Sex EP with Grinderman / Nick Cave And The Bad Seeds / Silver Alert drummer Jim Sclavunos on the skins and lyrics by SwansMichael Gira). In general the tracks lean toward the accessible side of the Sonic Youth back catalogue rather than the more experimental, but that’s what you get when you try and shift your album in outlets of the ubiquitous Seattle coffee chain (Seattle resident Eddie Vedder, incidentally, has a bit of a rant about not liking coffee in his notes to ‘Teen Age Riot’, which is rather like biting the hand that feeds if you ask me, but it’s still funny). Also, most of the tracks are those sung by Thurston Moore; Kim Gordon gets a couple of her lead vocal tracks included (including the annoying ‘duet’ with Chuck D, ‘Kool Thing’ and the beguiling ‘Shadow Of A Doubt’) and poor Lee Ranaldo doesn’t have any of his sung / spoken tracks included at all. Diablo Cody chooses the cover of ‘Superstar’ from a tribute album to The Carpenters which, while pretty, still feels uncharacteristically kitsch for Sonic Youth; far better would have been something from the more radical Ciccone Youth album.

Personally, I’d liken this compilation to the type of coffee you get from Starbucks – in other words a bit watered down, vaguely inauthentic but nevertheless addictive all the same, precisely because it is so accessible. I approached this album having not listened to most of the Sonic Youth back catalogue for some time and it felt like I was hearing these tracks for the first time all over again, ‘Teen Age Riot’ (still one of my favourites from their entire body of work) and ‘Bull In The Heather’ (from Experimental Jet Set, Trash And No Star) in particular sounding really fresh and unfamiliar, just like I was listening to them for the first time again.

The album also includes a previously unreleased track, ‘Slow Revolution’, which mines a similar vein to Washing Machine‘s long-form ‘Diamond Sea’ (a track I’d definitely have included, though at twenty minutes it was clearly never going to make the grade while the single edit lacks the very expansiveness that makes the song so impressive); like ‘Diamond Sea’, ‘Slow Revolution’ is a languidly-paced number, all Jaki Liebezeit-style drums from Steve Shelley and layers of hazy guitar riffs and Kim Gordon wailing away somewhere in the middle ground like she’s singing in tongues. It’s a far cry from this band’s more blistering white hot punk tracks, but it’s quite beautiful nonetheless; think the Velvets’ ‘Pale Blue Eyes’ passed through a Krautrock filter. ‘Slow Revolution’ is worth buying this compilation for in itself.

Gripes aside, Hits Are For Squares provides a great overview for anyone unfamiliar with Sonic Youth. It’s not as good as my own Sonic Youth compilation tapes that I made at the start of the last decade, but that’s personal choices for you.

I decided to re-post this because I’ve been listening to The Best Day, the new solo album from Thurston Moore which I’m reviewing this month for Clash.

Track listing:

cd:
1. Bull In The Heather
2. 100%
3. Sugar Kane
4. Kool Thing
5. Disappearer
6. Superstar
7. Stones
8. Tuff Gnarl
9. Teenage Riot
10. Shadow Of A Doubt
11. Rain On Tin
12. Tom Violence
13. Mary-Christ
14. The World Looks Red
15. Expressway To Yr. Skull
16. Slow Revolution

First published 2010 / re-posted 2014

(c) 2014 Mat Smith / Documentary Evidence