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En estos tiempos de hipercomunicación bastaría la invitación de enviar a un amigo cualquiera de los textos que consideres interesantes algo redundante: demasiada comunicación, demasiados textos y , en general, demasiado de todo.
Es posible que estemos de acuerdo... pero cuando encuentras algo interesante en cualquier sitio, la red, la calle, tu casa, o un lugar escondido y remoto, compartirlo no sólo es un acto (acción, hecho) de amistad o altruismo, también es una manera de ahorrar tiempo a los demás (y de que te lo ahorren a ti (si eres afortunado) a costa del tiempo que tu has podido derrochar (emplear) y el gustazo de mostrar que estuviste ahí (o donde fuera ) un poco antes (el tiempo ya no es más el que era).
Comparte con tus conocidos aquello que encuentras, es evolución.
Interview: Sonic Youth
12-12-05 Revista de Prensa  


Publicado originalmente en Pitchfork

sonic youth

Story by Julianne Shepherd

Sonic Youth's Goo. Originally released "6.26.90," according to the liner notes. The day a noise-rock band made a back-door entrée into the world of music-industry suits to get their work better heard 'round the world. It was a risk; at that time, only a few bands had peeked out from the indie world to dabble in the mass-marketplace-- corpo chequebook, recoupables, A&R guys, and all. But SY had just released the most influential album in independent rock music to date (Daydream Nation), so they joined up with the David Geffen Company; they reasoned that within indie-rock's as-yet-limited strata of opportunities, they had nowhere left to go but down.
Prophecy gives our gizzards a little thrill. In 1990, upon Goo's release, Thurston Moore told Spin magazine, "Why should Geffen force-feed anything down anybody's throat? Guns N' Roses are easy because it's a path that's already been paved by all the lame rock classics. But us-- who are they going to feed us to?"


The next year, Sonic Youth starred in a tour video called 1991: the Year Punk Broke, which documented the burgeoning "alternative nation." Some underground gatekeepers groused about the band's "selling out," and those voices would bloat as SY cronies Nirvana ascended over the next coupla years. But most of their peers would, as they say, "sell out" and give in to the maje-labe champagne flute, to varying ends; in retrospect, "the breaking of punk"-- or rather, the '90s rock underground digging itself up for proliferation and profit-- was bound to happen sooner or later in this weird-ass world of 24-hour capitalism. But more importantly: Thanks to the distribution Geffen afforded SY, America's farthest reaches were finally able to access Sonic Youth's music-- which, in those pre-internet dark-ages, certainly rescued thousands of alienated teens from alternate fates as vaguely dissatisfied suburbanites and/or small-town tragedies.

So, with Goo, the Youth's fractured, opaque squalls ran free like a pony, stamping its fumble hoofs all across earth's soil. From "Dirty Boots"' haunting whine, to the Karen Carpenter reliquary "Tunic", to the punk-as-fuck screeches of "Mildred Pierce", to the electrifying and historical meeting of Chuck D and Kim G on "Kool Thing" for some Weather Underground-echoing spoof on race & patriarchy-- Goo forever marked rock 'n' roll with minor-key dirges, pop songs greased with distortion, pop-cult flags (L.A. artist Raymond Pettibon, whose art graces Goo's cover, figures prominently) and the aprés-Reaganomics disillusion that would define the rock music of the next 10 years. In the era of Axl Rose's slobbery six-beer wailing (which is not to say I do not enjoy Axl Rose's six-beer wail), SY's sound experiments on Geffen Records marked a slight shift towards high art's ephemeral uncertainty: listen to the great "Mote", which begins with radio-dial flickering that bursts and snuffs, then fans out into a seven-and-a-half-minute-long, esoteric meditation on loneliness or insanity, in general (I guess), which ends in a free whorl of distortion, brushed drumming. Seven-and-a-half minutes long: Goo was not their best album, but it was their pop album. Goo was the sound of the troops coming to plant the freak flag in the world's high-school parking lot.

Lee Ranaldo is one of the guitarists in Sonic Youth. He is also a father, a visual- and sound-artist, and a writer of poetry and prose. His singing voice is naturally draped with sorrow and melancholy.

Pitchfork: Hi Lee, how are you?

Lee Ranaldo: I'm good, how are you?

Pitchfork: Great, thank you. So we're talking about Goo. Why was it important to you to reissue Goo now?

LR: I don't know if it being "important for us" is really the way to look at it. There's been this repackaging trend in the industry recently, and mostly they're records known on a much larger scale than our records-- things like Bob Marley's Catch a Fire or Marvin Gaye. And when the people at Geffen, it was their idea, they came to us and seemed to think our records were just as deserving of that kind of treatment. They suggested doing a sequence of three records, Dirty, Goo, and Daydream; the three records that delineated our transition from our first period to our second period, and our switch to a major label. We'd been actually buying a bunch of these deluxe reissues just because we're fans of the music. The idea appealed to us as a way to go back and reexamine those records, to flush them out with other pieces of music from the period. It's kind of a nice time to look back at records made that long ago, to flesh them out and collect all the unreleased tracks and B-sides.

Pitchfork: Did you have any revelations about your own catalogue as you were doing that?

LR: I think it's mostly the perspective of time...we've remastered these records since we made them so we've had chances before to look back on them, and we still play some of that material. We have a fairly fresh perspective on them. With Dirty, maybe, there were more revelations because we unearthed all these rehearsal room recordings we hadn't listened to in quite awhile. With Goo it wasn't as surprising, but it was still interesting to see how the songs evolved from the demo versions and we did listen to a lot of early live versions, none of which made the cut. But it was interesting to see how it evolved.

Pitchfork: When you say your "second period" and your "third period," what do you mean?

LR: I would say we're in our third period right now, but I would say in that period, Daydream Nation was our last record on an independent label, Goo was the first record on a major, so it was a transition in a lot of ways. Daydream brought us to the top of the heap of the indie-college market and recognition by all of our peers; Daydream kind of capped off everything we set out to do when we started as a band, in terms of like wow, wouldn't it be great to make a record that a lot of people liked and listened to?

We satisfied a lot of those goals by the time we did Evol, Sister, and Daydream and at that point the question is where do you go from there? Of course you want to keep making good records, but I think there were certain aspects to the indie rock situation at that point where we were pushing the envelope a little bit too far. We weren't happy with the distribution we were getting, and a few other things. So for a lot of ways it made sense for us to jump to a major label right then, and it made sense in terms of challenging ourselves to put ourselves in new situations. Obviously if we'd stayed in the world of independent releases we would have, for a time at least, been, like, at the very top of the heap there where we were with Daydream. Instead, you jump into this major-label environment and you're kind of on the bottom again and you have to scrap a little harder for your position, and I think that was a challenge we all were interested in.

Pitchfork: In the liner notes, Byron Coley talks about the girl who says if she hadn't heard Goo when she was 12, she would've become a teenybopper. No disrespect to teenyboppers, but I'm wondering if you'd heard similar sentiment in relation to Goo, and more specifically signing to a major, getting better distribution.

LR: You know, signing to a major, there weren't many bands from our sphere that were doing it. I mean obviously R.E.M. had done it, and Husker Du and the Replacements had done it, and maybe Soul Asylum, but that was probably about it. Those four bands were pretty much the only ones from that milieu that had signed to a major. So it was still a pretty big deal; there was all the typical talk of sell-out or whatever, but mostly that stuff didn't bother us and I think it became fairly clear as our music progressed that we continued to make Sonic Youth music, and it didn't really change because of the fact of which label we were on, just as it hadn't with the two or three labels we were on before. The music evolved of its own nature, through it all, and continues to do so to this day. We've been around long enough that there have certainly been people at every stage of our career telling us about one or another record being influential to their lives in one way or another. It's always nice to hear that stuff.

Pitchfork: I'm interested in that one moment before the internet, right as a lot of indie bands were signing, and the distribution that major-labels afforded bands sort of changed the whole culture in places like, say, Montana and Wyoming, places where before people couldn't actually get your music.

LR: I suppose it's exactly those kinds of kids who lived in Wyoming or Iowa that we were concerned about when we were making the move to the major label. We were touring like crazy back then and we'd constantly come up against this wall where people were like, I don't have any idea where to find your record, I can't get it anywhere. That frustrated us to no end, to know that there were people who wanted the record, but couldn't get it because it wasn't in their local store, it wasn't on their distribution list of their whatever record store chain they had back then. That was one of the main reasons we moved to Geffen, because we were hoping that across America and worldwide it would afford us better distribution so the people who wanted to hear our music could. Obviously a lot of that stuff has changed at this point with the internet and it's a different situation, but that's the way it was back then. If you were making records and people couldn't get them, there wasn't much point in that.

Pitchfork: Did signing do what you wanted it to, then?

LR: I think in a lot of ways it did. We still came up against the same thing-- back then especially, when we were first signing in 1991-92, I don't think a lot of the more commercial record stores caught up to what was happening trendwise in the music industry. Certainly our records could be found in most of the mom and pop indie stores, but we still found there were a lot of major stores that weren't on the tip of knowing what was happening and weren't stocking our records as readily as they were stocking, you know, Guns 'n' Roses or Billy Joel or whatever the hell. That certainly changed, and it changed rapidly after Nirvana's rise, that's for sure.

Pitchfork: You have said you wanted to test the boundaries of your contract, and initially wanted to give Goo the title Blowjob? I'm wondering if you were testing the major-label waters in any other ways.

LR: I suppose we thought we were testing them because we knew Geffen would never go for the name Blowjob. But for us it came out of looking at a lot of Raymond Pettibone artwork and finding this one with this big picture of, like, a caricature of Joan Crawford with these big red lips and it said, "Blowjob" underneath it, and we just thought it was such a great piece. In light of all the work he was doing back then, in our circle it's not that sensationalistic and we thought it would be an amazing album cover but obviously in the world of Geffen it was just not gonna fly. So we put it forth but we pretty much knew it was gonna get shot down just by the morals of a big time record company like that.

Pitchfork: Sonic Youth's imagery and mythology is married to New York; I wonder if you could describe what was happening in NYC around that time that influenced Goo.

LR: This was early '90s and in New York hip-hop was coming on really strong; that was the sort of urban folk music that was almost threatening to eclipse rock music and indie rock music in terms of popularity, which it has certainly gone on to do. But you know, this is the end of the 1980s, beginning of the '90s. The whole independent label thing has really evolved to this incredible point from the early '80s when we started, and there wasn't one record label at all, until a couple people started forming these small labels. There was no touring network. Certainly the whole SST crowd with Black Flag started to change that and the American hardcore scene, you know, kids pen-palling each other in these second-tier cities across America creating these networks for touring and getting out there in vans.

All that changed everything so remarkably that by the time the early '90s came around, New York was a very different place for us. I guess I see Goo half as a really New York record because I think there are a lot of really particular New York references on it, but I also see it for us as the first of our records that really opened up to the larger world around us. That was a world that included Europe, Australia, and Japan, that we'd been starting to see more of from touring. And although we created it all in New York for sure, and at that point I'd still say that our music was very definitely influenced by New York and living in New York and what was going on here, there's some aspects of that record that really remind me of L.A., where we'd been spending a fair amount of time at that point and, like I say, this broader context that we were starting to see our music. We were playing as much in Europe at that point as we were in the states, and we were being influenced by a lot more worldly things at that point than just Manhattan-centric things.

Pitchfork: What parts of Goo are L.A.?

LR: I think some of the music on that record-- maybe it's because some of the videos for those songs, that was the record we made a video for every song and some of the videos, like Cinderella's big score, were shot in L.A., I think another one was the video for "Disappearer", which was shot in Toronto but sort of meant to look like New York. I think we were just spending a fair amount of time in L.A. by that point. The record company was in L.A., we had a lot of friends there, Kim had grown up there, and a lot of L.A. culture and L.A. hipsters that we were hanging out with were rubbing off on us. Having a Pettinbone cover was definitely an L.A.-centric artwork reference from back in the SST days.

Pitchfork: Was this before or after the drum circles in the Meatpacking District of Manhattan?

LR: Drum circles?

Pitchfork: Yeah, a friend of mine who attended Cooper Union at that time told me all about the Sonic Youth drum circles in the Meatpacking District.

LR: I don't have any idea what you're talking about. That's very curious, but I don't know anything about that. I wonder what that's all about?

Pitchfork: He detailed being at a warehouse in the Meatpacking, someone reading Ginsberg poetry, and drum circles.

LR: I don't know about that. I mean, there was this club in the mid- to late-90s called the Cooler in the Meatpacking and, I mean, a lot of weird stuff happened there. I wouldn't be surprised if I was reading poetry there and, you know, doing things with different groups. But I don't remember particularly drum circles, or doing anything with Ginsberg in that neighborhood.

Pitchfork: Okay. So how do you view your work from that era, overall?

LR: Well, I see it more than anything else as a record that signified our transition from being on an indie to a major. One thing that people commented on when it came out was how much the music was like songs. Some people didn't expect that and some people said, "oh, they're on a major now, they're writing songs." And for me, I think of the group as one in which there's always this pendulum swinging back and forth between writing shorter, more concise pieces until we get kind of sick of it and then writing pieces that get more sprawling and experimental and explore in different directions. We were at the end of that mode when we were making Daydream, which had all these long, structurally sprawling pieces on it, so I think the pendulum was naturally swinging back towards making a record of songs. It happened to coincide with switching to a major label.

I see it as a record where we were trying to create more discreet, individual songs. Daydream culminated that because a lot of the songs were sprawling, but in the years before that, through Bad Moon, Evol, and Sister, we were going out live and melding all these songs into one long song. We wouldn't stop from one song to the next, we'd turn on tape recorders and have noisy sound interludes and have one song go from right into the other and not wait for flaws and just build this symphonic grouping of pieces throughout a set. Bad Moon Rising is strung like that on a record, there aren't really any gaps in between the songs. By the time we finished touring Daydream we were ready to make a record where we actually stopped in between songs and tried to do that, a more normal thing. But that's one of the things I see about Goo: It was a chance to make a record that was all these discreet pieces that didn't flow together in that organic way that some of our previous work had.

Pitchfork: Like a pop record.

LR: I would think that other records in the past qualify for that too, like Sister, in terms of their being about songs. I think the thing that makes Goo more accessible that way is that the production values are much higher. That was the other thing we were certainly experimenting with, with that record is that we finally had a real serious recording budget, where we could go into the same kind of studio that any big band would be able to go into and work in. That was a bit of a difference because it sort of took us out of the ghetto of having to work really quickly in really dirt-cheap studios. It put us in the same bracket as anybody else. That was definitely interesting to have a serious budget.

Pitchfork: Did you feel it was an improvement?

LR: It was definitely the right experience for us to have at that point. We've come to learn that studios only take you so far, it's really about the music and the people making the music that have the biggest impact on what a record is like. At that point it was really good for us to experience that because here we are on a major label, we finally have some serious cash to make a record, and in terms of us all being musicians and students of all things rock and roll, it was interesting to see how things were done on that level. And make the next one or two records with fairly hefty budgets and become familiar with how things work.

I think what it led us to find is that, left to our own devices in our own studio-- a medium-tech studio as opposed to a high tech-- that we were just as happy making our records that way. So it was all part of our education in terms of what we wanted out of Sonic Youth records and what the best way was to get them. I think if we had never tried to do that we would have always wondered if that was the way to a solution for us. I think we've all come to feel like that isn't what's important to us when we make a record at this point.

Pitchfork: Do you think being open to different environments and different music helps you to be malleable as a group?

LR: It certainly does, and I think that's a pretty apt description of the way we've been; both in terms of the kind of music we listen to and being open to different experiences and having things affect us in ways that influence where the next music is going. Signing to a major label was an experiment for us. It was a challenge, working in a big studio with a producer was challenge in a lot of ways. It all shaped what the band went on to become, through the '90s. After we made Goo, we went out and toured with Neil Young in ice hockey arenas for three months, and that was the same kind of thing. You know, What would it be like if Sonic Youth played Madison Square Garden?. On that tour we had a chance to find out the answers to those questions, both in terms of us being fans of the history and lore of rock 'n' roll, and reading about groups we loved that played all those stages, it was interesting for us to see it from the other side of the coin, not from like, sitting at our house reading about Led Zeppelin doing it in a book or whatever, but actually going it out and doing it. And putting it in our arsenal of experiences about rock and roll, from a critical point of view in a way.

Pitchfork: So you were viewing those experiences not just as musicians, but also as fans?

LR: In a certain way, we felt almost like spies in the major label world. We were coming from some other world, and we somehow got our foot in the door and crept in and were prowling around, checking things out and taking back reports from the front. It was something along the lines of that. I don't know. I mean, we're obviously not a platinum-selling band, and yet we've managed to maintain a career on a major label through all this time, and I think we always felt like we were, to a certain degree, infiltrators there. And it's been an interesting thing. It's all been like a big art project for us.


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10-08-06_David, Moffett, and Ornette
06-08-06_Love, Arthur
03-08-06_Peaches * Fatherfucker [XL]
01-08-06_Thomas Dolby’s Blog
29-07-06_Alan Courtis * La Casa Encencida
28-07-06_Dos Flautas... Mozart tal vez ???
26-07-06_Ramoncín a favor de la copia privada multiple ( eso entiendo, claro )
22-07-06_Agradable sorpresa
22-07-06_Garzón se pelea con Garzón y ahora es Grande-Marlaska
21-07-06_Born Dorothy Jeanne Thompson: Afro-Harping
21-07-06_Insects and pianos: Toshio Iwai's talk at Futuresonic
21-07-06_Goodbye Crazy Diamond
04-09-07_ The Syd Barrett documentary 'Crazy Diamond'
06-07-06_Razones por las que el Tutubo lo es Todo
01-06-07_END of COPENHAGEN... Full End (de un tirón y con gusto)
03-07-06_Melt! en la ciudad de acero
11-07-07_ END of COPENHAGEN
30-06-06_Gram Parsons * The Complete Reprise Sessions
29-06-06_The Shins Live in 2003 * part one
28-06-06_Arthur Russell * First Thought
27-06-06_MSTRKRFT: Superdiscobukkake
21-06-06_György Ligeti * Portrait
18-06-06_AFX * Chosen Lords
14-06-06_Download Now: The Free iPod Book 2.0
09-06-06_Cruce e perras * Victor Coyote
08-06-06_Ellen Allien & Apparat
05-06-06_Barbara Morgenstern * The Grass Is Always Greener
04-06-06_Christian Marclay * Gramofilia
05-06-06_Neil Young * 1989-12-10 Amsterdam
05-06-06_Van Morrison at the Fillmore West
01-06-06_Buenos despertares
01-06-06_Whitehouse Live at the Foro
05-06-06_Remix My Life in the Bush of Ghosts
05-06-06_Ryuichi Sakamoto: stop-rokkasho.org
05-06-06_Stock, Hausen & Walkman
24-05-06_Pearl Jam * Copia este vídeo
24-05-06_Great Black Music
05-06-06_Scratch (2002)
05-06-06_NEW BCO Release on Comfort Stand (BOOM CRASH CRASH)
16-05-06_Scott regresa
06-06-06_Thom Yorke Solo Album Revealed!
07-06-06_Sonic Youth - Live in Paris 2006
14-05-06_Los mejores discos británicos de la historia
11-05-06_Wire, cuando el punk no era punk rock
04-05-06_Scort Service * Concierto en Specka
12-05-06_Supercar * Be
04-05-06_Kleine Metaphysik des Opá
04-05-06_The Knife * Silent Shout
24-04-06_Isolee * Western Store
07-06-06_Bill Evans * in memorian
23-04-06_Lightning Bolt * Unedited interview
22-04-06_Dominique A * L'horizon
20-04-06_Sweet & Conceptual '80s... ha llovido tanto
19-04-06_Terrestrial Tones * Dead Drunk
11-04-06_Whitehouse * Asceticists
10-04-06_Prince vuelve a la cima con su nuevo disco
06-04-06_Rap's Immovable Object
09-04-06_A Bittersweet Melodic Imagination
02-04-06_Saturday night... * Cock Rock Disco
01-04-06_The distance runner * David Liebman
29-03-06_Tapes 'n Tapes
01-04-06_My Life in the Bush of Ghosts * Brian Eno/David Byrne
27-03-06_Coincidencias Improbables
02-04-06_Underground Resistance * Más allá de la resistencia
02-04-06_Who Is Morph the Cat?
24-03-06_A certain style
22-03-06_(Beastie) Boys on Film
19-03-06_El rostro joven de Sergio Mendes
14-08-06_Nitsa is ONCE ;-)
16-03-06_Ariel Pink | José Manuel Costa
15-03-06_José Ángel | 'Madre, soy cristiano homosexual'
15-03-06_Devo 2.0, "Devo 2.0"
31-05-07_Miles Davis, Romantic Hero
25-09-07_ Syd Barret, diamante frágil
14-03-06_KK.Null/Chris Watson/Z'ev
09-03-06_Polysics | Now's the Time
04-03-06_Looking for Pirates on the Inside's | EXPRESS (EXP)
28-02-06_The devastations / José Manuel Costa
28-02-06_Edan / The beauty and the beat / José Manuel Costa
23-02-06_Stereo Total / José Manuel Costa
02-03-06_Prince: Black Sweat / hot single from “3121”
14-02-06_Prefuse 73
13-02-06_Angie Reed / José Manuel Costa
08-02-06_Space Disco
07-02-06_Bonnie “Prince” Billy & Tortoise / José Manuel Costa
03-02-06_Judith Juillerat / José Manuel Costa
30-01-06_Black Eyed Peas + Jack Johnson
29-01-06_Alex Under, la seducción del « no estilo » / José Manuel Costa
27-01-06_Bye Mego, Hello!
25-01-06_West Poses As Jesus for Rolling Stone
26-06-08_ Cachicamo with Caspa and Leiko the Dog of the Fifth Dimension: "Imagine"[actualizado 10_06_'08]
26-01-06_Crónica del olvido
23-01-06_Richie Hawtin / DE9: Transitions
23-01-06_Sonic Youth / SYR6: Koncertas Stan Brakhage
23-01-06_DJ Shadow / Funky Skunk
20-01-06_'Super soul', con Wilson Pickett: marcha negra para oídos blancos
20-01-06_The 15 Worst Releases of 2005
20-01-06_The Sexiest Sex Machine
10-09-06_Death from Above 1979 / Lucía Maldonado
18-01-06_Inocente cuando sueñas / José Manuel Costa
17-01-06_De-Bug List / José Manuel Costa
16-01-06_Ryoji Ikeda
16-01-06_Seu Jorge
16-01-06_Interview: David Sylvian
16-01-06_Interview: Dizzee Rascal
09-01-06_Una selección musical de José Manuel Costa¡!¡!
06-01-06_T. Rex
04-01-06_Kraftwer minimun-maximun
25-12-05_Grabba Grabba Night
14-08-06_Tiga / Sexor
12-12-05_Mark Stewart / Kiss The Future
12-12-05_Interview: Sonic Youth
03-12-05_Música en la red: ¿Piratas o libres?
02-12-05_Humbert Humbert
02-12-05_EL MUSAC: Concierto inaugural del Purple Weekend 2005
24-11-05_Interview with Lawrence "Butch" Morris
23-11-05_Soborna, que algo queda
20-11-05_Poseído por una visión
12-11-05_Cristian Vogel
11-11-05_OBSERVATORI 2005
11-11-05_Por el nombre muere el "indie"
03-11-05_Interview: Chris Cunnigham
03-11-05_Interview: Jamie Lidell
05-11-05_Jackson & His Computer Band
26-10-05_Banalidad vestida de arte
03-11-05_Black Dice
14-08-06_Experimentaclub / J.G Thirlwell
09-10-05_Llorones sin causa
09-10-05_Las reliquias del bardo
03-10-05_TSN vs. BM&RL
03-10-05_Luomo / vocalcity
03-10-05_Tujiko Noriko / Blurred in my mirror Room 40.
19-07-05_Antony and the johnsons » I'm a bird now.
10-06-05_M.I.A. » Arular
10-06-05_Mu » Out of Breach
05-06-05_Tom Vek » We have sound
08-06-05_Namosh » Cold Cream



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