SONIC YOUTH – SISTER
(BLAST FIRST)
These are great songs,
greater than the sound of their recording.
Sister was the first pre-punk broke Sonic Youth album that I clicked
with. I take this over Daydream Nation
nine times out of ten. Now if only the
drums didn’t sound like they were made using a breadbin. But apparently that sound is “warm and
vintage”.
Recorded at Sear Sound in New York this was a studio long past its heyday now
reduced to producing jingles and soundtracks to softcore horror movies being
made by the owners. Steve Shelley would
later express dissatisfaction at the drum sound but everything else felt
perfectly suited to the band and its vision at the time. The equipment on offer (old school tube
amplifiers etc) was pornography to such guitar terrorists.
There is a playing
against the elements feel to this record.
The imagination reconciles its creation with inhabiting some awful areas
of New York , places caked in pure grime. This image is probably quite removed from
reality but with its cut and paste artwork and a weird fascination with science
there is something strangely urban and menacing about the package. And then there is the declaration that the
Sister in question is suffering from “Schizophrenia” which brings a degree of
menace and mental illness along with threat and maybe even murder.
Sister is scrappy
goodness. Very lo-fi and very cheap the
proof is inside the pudding. Ugly
guitars that might otherwise put off rock heads carpets crazed energy and
creative abandon.
Released on SST in the U.S. their fourth studio album actually saw them
move closer towards traditional song structure and away from the avant
exploration of their No Wave
origins. It is a loose concept album
partly inspired by Philip
K. Dick, not least in being named after his fraternal twin that died
shortly after her birth. Indeed entire
sentences from the man’s are subtly lifted and inserted into lyric lines. In addition to this there is a nod to James Ellroy in the thank
yous.
Excitingly Sister
holds the first examples of/in Sonic Youth’s career where noise became noise
pop, especially on tracks such as “White Kross” and “(I Got A) Catholic Block”
which serve with charge and arrive at extraordinary hooks.
Despite the apparent
change in operation there is no compromise on show. “(I Got A) Catholic Block” is in particular a
very positive example of this serving as a fizzy screamer that ends in a wicked
flow of feedback going places where no one knows.
I have now briefly
lost interest in reviewing this record, leaving my writing desk to rummage
around on the internet. In my movement I
did not switch the record and as I attempt to escape this duty a dense, cradled
distortion follows me into the other rooms of the apartment.
Elsewhere “Tuff Gnarl”
offers a relatively upbeat motion with a sound that Mike Watt
would later be heard describing as “bubblegum”.
The “seven at the
beginning of “Stereo Sanctity” came from studio engineer Bill Titus insisting
that the band announce the number of each take before a track was
recorded. The man’s old school methods
would clash with their experimental sensibilities not least when he told the
band that they needed to tune their instruments.
Songs such as
“Pipeline/Kill Time” and “Pacific Coast Highway” offer narrative prose and
horror scenarios smeared over tracks that veer from frenetic gestures to drawn
out moments of sonic bridges swirling in centre sections. The latter is particularly jarring sounding
like a scratchy, unfinished “Death
Valley ‘69” before drifting off in the middle flexing a counterfeit calm.
Away from the
distorted blasts there are tender moments and slow motions in “Beauty Lies In
The Eye” and “Kotton Krown” both of which feature Kim Gordon vocals as Thurston
joins her in duet on the latter. As
“Kotton Krown” drifts off in a wave of feedback it glistens at a steady pace in
a way that guitars had never sounded before.
Meanwhile the slow broken conversation of “Beauty Lies In The Eye”
eventually sees Kim calling out to kool
thing at the close. That reference
was always in her.
Then there is the fun
cover of “Hot Wire My Heart” by Crime offered
as both solidification of their punk credentials and an affection nod to
originators they love. It is actually a
great song with the classic kind of hook that makes you feel you familiar the
first time you hear it.
Often described as the
album’s afterbirth the messy “Master-Dik” closes the record. Starring the Royal Tuff Titty (Thurston’s rap
persona) its bratty and obnoxious, the sound of a disciplined man cutting
loose. Basically it sounds like a Beck song before Beck was born. It’s the best brash satire on cock rock an
angry nation could ever want. Eventually
it ends with a sample of Gene Simmons
singing “I know”. Did he know?
Discarded and rejected
album titles apparently included Sol-Fuc, Kitty Magic and Humpy Pumpy.
Listen to this loud.
Thesaurus moment:
sibling.
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