Anonym
Registriert seit: 01.01.1970
Beiträge: 0
klar gibts da qualitätsschwankungen. „a thousand leaves“ finde ich bspw nicht unbedingt grandios gelungen. klingt sehr zerfahren, die stücke zünden nicht so richtig. gleiches gilt auch für „experimental jet set…“ oder „washing machine“. viel leerlauf, wenig wirklich gute momente, alles eher uninspiriert und schal.
ganz guter text zu sonic youth:
„The band’s true breakthrough was the double-album Daydream Nation. Released on Enigma Records, Daydream Nation was a tour de force that was hailed as a masterpiece upon its fall 1988 release, and it generated a college radio hit with „Teenage Riot.“ Though the album was widely praised, Enigma suffered from poor distribution and eventually bankruptcy, which meant the album occasionally wasn’t in stores. These factors contributed heavily to the band’s decision to move to the major label DGC in 1990. Signing a contract that gave them complete creative control, as well as letting them function as pseudo-A&R reps for the label, Sonic Youth established a precedent for alternative bands moving to majors during the ’90s, proving that it was possible to preserve indie credibility on a major label. Released in the fall of 1990, Goo, the band’s first major-label album, boasted a more focused sound, yet it didn’t abandon the group’s noise aesthetics. The result was a college radio hit, and the group’s first album to crack the Top 100. Neil Young invited Sonic Youth to open for him on his arena tour for Ragged Glory, and though they failed to win over much of the rocker’s audience, it represented their first major incursion into the mainstream; it also helped make Young a cult figure within the alternative circles during the ’90s. For their second major-label album, Dirty, Sonic Youth attempted to replicate the sloppy, straightforward sound of grunge rockers Mudhoney and Nirvana. The band had been supporting those two Seattle-based groups for several years (and had released a split single with Mudhoney and brought Nirvana to DGC Records), and while the songs on Dirty were hardly grunge, it was more pop-oriented and accessible than earlier Sonic Youth records. Produced by Butch Vig, who also produced Nirvana’s Nevermind, Dirty became an alternative hit upon its summer 1992 release, generating the modern rock hits „100%,“ „Youth Against Fascism,“ and „Sugar Kane.“ Sonic Youth quickly became hailed as one of the godfathers of the alternative rock that had become the most popular form of rock music in the U.S., and Dirty became a hit along with the exposure, eventually going gold. Sonic Youth again worked with Vig for 1994’s Experimental Jet Set, Trash and No Star, which entered the U.S. charts at 34 and the U.K. charts at number ten, making it their highest-charting album ever. The high chart position was proof of their popularity during the previous two years, as it received decidedly mixed reviews and quickly fell down the charts. Later in 1994, Moore and Gordon — who had married several years before — had their first child, a daughter named Coco Haley. Sonic Youth agreed to headline 1995’s American Lollapalooza package tour, using the earnings to build a new studio. Following the completion of the tour, Sonic Youth released Washing Machine, which received their strongest reviews since Daydream Nation. After a series of experimental EPs issued on their own SYR label, they resurfaced in 1998 with the full-length A Thousand Leaves. NYC Ghosts & Flowers, which featured Jim O’Rourke as a producer and musician, followed in the spring of 2000. O’Rourke became a full member of the group, touring with the band and appearing on and producing 2002’s Murray Street. The five-piece Sonic Youth returned in 2004 with Sonic Nurse. However, the following year O’Rourke departed the band to pursue a career as a film director; late in 2005, Sonic Youth issued SYR 6, a recording of a benefit concert for the Anthology Film Archives that the group played with percussionist Tim Barnes.“ (Stephen Thomas Erlewine)
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