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76 • , November 2010 REWIND Music that missed the middle east S on ic Yout h How changed the face of forever

BY DANIEL ROSS

ndie rock didn’t mean the same mental or not, it takes serious chutzpah to pearance of something much more preten- thing in 1988 as it does today. A knowingly sabotage your own prettiness. tious than it actually is. In truth, it delivers colder wind blew, and industrial Similarly, “Total Trash” debunks itself en- some of the most rollicking rock moments influence in music was confined to tirely by ditching its chugging riffs at the on the whole record, progressing from Ithe upper-echelon artists. The power lay half-way point, ascending into throbbing, pounding atonality to muted guitar disso- with Michael Jackson, George Michael alienated mush with only Steve Shelley’s nance and right back to hardcore-derived and Guns n’ Roses with the likes of Dino- level drums to anchor it. It occupies a sim- abandon. A bruising ending sees Gordon saur Jr, Hüsker Dü and side- ilar space to Television’s seminal “Marquee yelping the occasional “Shit yeah!” and un- lined. Daydream Nation, with its bracing Moon,” remaining episodic and convolut- relenting instrumental fury provides the cool, its sheen of detachment and its noise ed, but determined to rescue itself. most fitting of climaxes. changed everything, at least in the under- Elliptical lyrics and balanced outbreaks Generally, Sonic Youth albums can be ground. A mammoth double album (the of noise are one thing, but experimental seen as battles between weapon-like noise scale of which wasn’t seen again in rock temptations reach their apogee on “Provi- and charming melody, and the winner is until the Smashing Pumpkins’ Mellon Col- usually clear. Where 1986’s Evol is thrashed lie & The Infinite Sadness) positively skips by darkness and volume, 1992’s Dirty is gov- past, balancing every facet of Sonic Youth’s erned by the concept of The Popular Song charm, from Thurston Moore’s pointed and, as such, is the plaything of melody. Day- guitar attacks to wife ’s pos- dream Nation is the exception to the rule tured glam shrieking. Their next record, in that it regularly threatens to topple into 1990’s Goo, saw them leap up a league and either camp. The album’s producer, Nick sign to Geffen, butDaydream Nation’s in- Sansano, is better known for having mar- fluence is indelibly felt to this day by a glut shalled the talent of Public Enemy into re- of noisier bands, all of whom have this par- cording such hip-hop classics as Fear Of A adigm of indie-rock perfection to thank. Black Planet and It Takes A Nation Of Mil- Daydream Nation starts on a surpris- lions To Hold Us Back, but for this depar- ingly breezy, almost whimsical note. “Teen ture he captured what the two acts shared – Age Riot” takes an age to get started, pri- primal intensity and danger. True enough, mordially wading through Moore and Lee Public Enemy’s danger was far more likely Ranaldo’s guitar fragments and the occa- to result in mortal consequence than that of sional bar of Steve Shelley’s drums, while Released: Sonic Youth, but musically they are equally Kim Gordon coquettishly delivers non- October 1988, abrasive forces. sequiturs that pussyfoot between child- Recorded: It was perhaps this aggressive bed that ish and deeply adult. “You’re it… no you’re Greene St Recording, New York prompted Moore and co. to leaven the bru- it…” jars brilliantly with “Spirit desire… we Produced: tality with occasional sweetness, along will fall…” lulling the listener into dusky Nick Sansano and Sonic Youth with ’s personal assurance confusion before everything mysterious- Singles: that their spacey, more exploratory live ly finds its balance. Suddenly we’re gently “,” “” shows were yet to be captured on record. careening through a new pop-rock gaunt- Wherever the tension came from, it forms let, neither too harsh nor too saccharine the backbone of Daydream Nation. Seem- to upset newcomers, but wistful, epic and dence”. It might not be much of a challenge ingly without any great exertion from the challenging enough to keep the faithful for anyone well versed in musique con- band (they’ve equalled their work here happy – equal parts bluster, tunes and crète, but the combination of humming re- once or twice since) they produced a tem- guitar magic. As far as the mainstream frigerator noise, muffled piano melody and plate of what indie rock, that most throw- was concerned, Sonic Youth just invent- garbled answer-phone message (inciden- away of tags, could possibly be. Countless ed indie rock. tally a call from fellow noise-monger, Faith bands have aped it, and a select few have Of course, this being Sonic Youth, the No More’s Mike Patton) is disarming when even capitalised on it for our listening plea- relative calm must dissipate and be decapi- dropped casually into Daydream Nation. sure but, in 1988, Daydream Nation was tated. Volleys of exquisitely conjured noise, The only logical way to follow this wrong- the state of the art. Cool, daring and lib- famously tempestuous feedback and some footing melee is the calmly plucked intro of erally noisy, it is a record that will always mage.com

I surprisingly furious drumming dominate “Candle” which, rather predictably by this sound fresh. A look at the still-youthful what follows, but it is always offset by pop point, turns into epic, noisy, pop gloop. Sonic Youth today goes to show that true /Wire n intentions. “The Sprawl” begins steeped Even at this late stage, the weightiest greatness doesn’t age, it plateaus. They in melody before expanding into a coda material is yet to come. The closing “Tril- might never better Daydream Nation, but

Paul NatkiPaul of melting, guttural guitar noise. Experi- ogy” is a hasty epic, with the outward ap- why would they want to?

Rolling Stone, November 2010 • 77