If they’re a New York band at heart, this song definitely took a Mediterranean vacation. If he sometimes (literally) used a screwdriver on his guitar, here it sounds like he’s using a paintbrush. Moore doesn’t bark as he sometimes does, instead he purrs. The songwriting is typical Sonic Youth with the structure up front and the freedom in the back. “Unwind” in particular is a revelation, even though it is also nothing new.
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Not that they didn’t have pretty moments before- Daydream Nation is full of them-but they seem willing to give over entire tracks and their narratives to beauty, not just use a touch of gleaming guitar as an accent piece before returning to chaos. It is a gorgeous ascent to new a plane for Sonic Youth.
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They seem about as surprised as we are, and the song drops out mid-riff. In structure, it’s not so different than “JC,” a feral moment at the end for a bit of punctuation, but instead of playing in the sandbox, the whole thing coagulates, Shelley switches to the toms, and the band gets its groove on. Actually, it pivots twice: first into a rhythmic chug, the preamble for the more interesting, kind of funky coda. And then, for whatever reason, the song totally pivots. “Junkies Promise,” which follows “Becuz,” begins with a sharp snap of feedback, before falling into a cocky noise-rock song for three minutes, with Moore doing a strong Iggy Pop imitation with his vocals. The tension created by that push and pull is the prevailing theme of the album, these longtime purveyors of scuzz finally taking a peek at the bright side. But something different happens: The song’s basic structure reassembles and keeps going, like the melody wrestled control back from all the disharmony. After two minutes, the whole thing gathers into that typical Sonic Youth feedback tornado, this one fairly heavily resembling the sound of a dentist drill. Like on “JC,” Shelley’s backbeat anchors the song as it begins to swell. The album begins with “Becuz,” a nasty romp led by Gordon’s groovy bass playing and her whispered sneer.
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That must have been an argument Sonic Youth heard enough, as come 1995’s Washing Machine, their squall had softened into sparkles.Īt least sometimes. Arguably, it has quite an ugly final 30 seconds, perhaps unnecessary after a deeply moving three and a half minutes. Despite its more traditional rock structure, the song is still decorated by the wide expanse of feedback by guitarist Thurston Moore. “You’re walking through my heart once more, don’t forget to close the door,” she sings as an elegy for a friend who was murdered. The song is sung by bass player Kim Gordon, who actually really speaks more than sings, each line like a challenge to the one before it. The fuzz is still present, but it’s paired with the engine of Steve Shelley’s steady hip-hop drumbeat. Towards the end of 1992’s Dirty is “ JC,” a song that, in hindsight, served as a blueprint for 1995’s Washing Machine.
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Within each, though, were a few perfect moments that pointed a way forward. In the years after Daydream Nation, they released a number of uneven albums, Goo, Dirty, and Experimental Jetset, Trash, and No Star. Perfection is a difficult thing to bounce back from, especially when it coincides with the end of the ’80s, a decade whose Reagan-era doom was hospitable to making a racket in protest.