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 Sonic Youth's latest release, "NYC Ghosts & Flowers," continues the artistic direction they have taken since they hit their creative lull in the early 90s. In 1988, Sonic Youth released "Daydream Nation," which stood as their masterwork after several years of writing and performing exploratory rock music. They subsequently signed a major-label deal with Geffen/DGC Records where they released a couple of good pop albums, "Goo" and "Dirty." While those albums contained some quality songs, they seemed to suggest that Sonic Youth were taking a break from progressing through their musical explorations. The album following those two, "Experimental Jet Set, Trash and No Star" turned out to be the least interesting of all, as it sounded like an arrangement of outtakes purged from their previous two records. In 1995, however, Sonic Youth was back on track with the release of "Washing Machine," which hinted at the group's philosophy on performing live. "Washing Machine," however, was just a precursor to "1,000 Leaves," the album that marked Sonic Youth's return to being one of the most intriguing bands in rock music. "NYC Ghosts" marks a further point in their journey through musical artistry. Melodies creep up behind waves of noise, catching a ride and transforming the sounds into something entirely new and fresh within the same song. Meloncholy tunes are twisted into hints of uplifting ideas and vice versa. The waves crash, and the current pulls them back as new waves begin to form behind them, and reincarnated sounds and melodies jump on for a new ride. Sonic Youth is back in full form, and it is well worth the listen to see where the new ride takes you.
The flip side of that coin is that after 1994's thoroughly enjoyable 'Experimental Jet Set,' listening to every new Sonic Youth album has become less enjoyable with each go-round. Much has been written about the band's slow but steady ascendence from purveyors of abrasive art-rock in the early 80's to masters of both sound-sculpting and songcraft by the end of that decade (yes, 'Daydream Nation' is a masterwork) but many critics are split as to whether they've been in a holding pattern throughout the 90's or a steady decline. I think the fall off was minimal until very recently. In spite of the use of alternate tunings & 8-plus minute track lenghths on recent releases, it's supposed to be about songs, man... I counted 5 keepers on 1995's "Washing Machine," and only 4 on 1998's "A Thousand Leaves"... this time out, maybe 2... if that. When they began releasing EP's (and eventually a 2CD all-avant-covers album) on their own independent "SY" label a couple of years ago, one suspected it was to give themselves an outlet for their least commercial, most "out there" musical tendencies.... When it came time for another major label release, they were surely going to give the casual fans something not quite so demanding, something enjoyable even... no such luck. Sonic Youth are pushing boundries yet again & asking us to come along for the ride... The songs meander, have long instrumental passages, come close to dispensing with songform altogether and/or feature lyrics spoken-not-sung. Only on "Renegade Princess" do the band "rock out" in any conventional sense, not that they're expected to anymore (most of the highlights of their last few albums have been the quieter moments after all) but on 'NYC Ghosts & Flowers' both the quiet & loud spots are equally uninvolving. I'm sure there a slew of SY diehards who will find things to praise & admire here but for once, on one of their Geffen releases anyway, I don't hear it. If you need a barometer, anyone who didn't connect with the band's recent self-released EP's should steer clear. Not only have they failed to deliver another 'Daydream Nation,' they haven't even given us another 'Washing Machine.' |
Well! It's another marvelous piece of art from Sonic Youth. A man cannot speak but he judges himself. With his will or against his will he draws his portrait to the eye of his companions by every word. Every opinion reacts on him who utters it. It is a threadball thrown at a mark, but the other end remains in the thrower's bag. Or rather, it is a harpoon thrown at the whale, unwinding, as it flies, a coil of cord in the boat, and, if the harpoon is not good, or not well thrown, it will go nigh to cut the steersman in twain of to sink the boat. Do you see?
It's not always easy being a Sonic Youth fan. It's often challenging and more than a bit frustrating, but even as the band follows its muse into ever stranger (and less commercial) musical territory it's hard not to admire them, or at very least respect them for the fearlessness with which they embrace the experimental (commercial - even college - radio airplay be damned).
