SOUNDTRACK: SONIC YOUTH: A Thousand Leaves (1998).
This CD actually ties to the book because the crossed out title on the CD is “mille feuille” and the first song is called “Contre le Sexism.”
This opening song is weird and lets you know that this disc is not going to be a friendly listen. Over some feedback and scratchy noise, Kim whispers and hollers, most notably that “it’s just a kitten.” But just when you think that the disc is going to be a crazy noise experiment, the next track “Sunday” proves to be another one of Thurston’s supremely catchy singles.
The back and forth continues with Kim’s abrasive “Female Mechanic Now on Duty” and Thurston’s delicate “Wildflower Soul.” But the pattern is broken with Lee’s spoken-word over simple guitar lines piece, “Hoarfrost.” It lacks Lee’s usual catchiness, although his later song “Karen Koltrane” more than makes up for it. Then Kim surprises us by giving us the catchy “French Tickler.”
To me, “Hits of Sunshine” is the centerpiece (literally and metaphorically) of the disc. It’s 11 minutes long and ranges through the main stylistic feelings of the disc.
The whole disc is over 70 minutes long and it feels meandering. This is not to say that it has no focus, it’s just not full of pop gems. And yet for all of its wandering, it hasn’t lost the tunes. Mixed reviews abound for this disc with everything from 1 to 4 stars coming from the pros. And, I think depending on my mood, my overall rating could be just as diverse.
I admit that at the time I was starting to lose my adoration for the band. These longer, more abstract pieces were less enticing than the noise of yore. But now that I’m a bit older, I can appreciate what they were doing.
[READ: Week of August 17] Infinite Jest (to page 651)
I was planning on starting this week’s write up with a bit about J.O.I’s filmography, which I delved back into and found some fascinating information. But this week’s write up is pretty long already, so I’m going to do a mid-week (but still spoiler line approved) retrurn to the filmography shortly.
So until then, let’s get back to the book:
This week’s reading gets off to some detailed viewing of the Incandenza men’s psyches before launching into an adrenaline fueled rush.
Mario is still freaked out about Madame Psychosis not being on the air. He’s not sleeping well at all, and when the insomnia hits him, he goes for walks (even though he knows, and is worried about, how much it freaks out the Moms).
Mario is slowly turning into the absolute heart of the book. He absolutely and without question loves Hal, and he is concerned for him because he’s been acting differently lately (Mario himself never changes). He also prays nightly, and in a serious way, talks to God (although he doesn’t expect any one to answer…he’s not crazy). And, in a very touching scene, which seems to resonate so well with late 1990s America, he is troubled that no one can talk about things sincerely without it being ironic. (Pemulis wants to set up a prayer hotline for atheists that would just ring and ring). (more…)
SOUNDTRACK: SONIC YOUTH-TV Shit (1993).
This is a funny little addition to the SY catalog. It is essentially four covers of a song by Youth Brigade called “No Song II” (which is from Dischord records, Possible EP 
SOUNDTRACK: SONIC YOUTH-Washing Machine (1995).
After the short blasts and diverse collection fo songs on Experimental Jet Set Trash and No Star, Washing Machine sounds like almost a different band. For although there are a few shorter pieces here, they also give us the 9 minute title track and the, brace yourself, almost 20 minute “The Diamond Sea.”
SOUNDTRACK: HÜSKER DÜ-Zen Arcade (1984).
When I was younger and more amused by things like this, it amused me that Hüsker Dü’s first three records were a live album an EP and a double album. They just couldn’t put out a regular old LP?
SOUNDTRACK: PEARL JAM-Vs. (1993).
Ten was a solid record, and although it had diversity within it, overall the sound was pretty consistent. On Vs., Pearl Jam mixed it up sonically and otherwise.
Zadie Smith is the editor and she wrote the introduction. I like to cover all of the written pieces in the book, but there’s not much to say about the introduction except that it fills you in on the details of the collection. She thanks Sarah Vowell for the idea but I gather that the rest of the work was done by her.
Sigur Rós are nothing if not ethereal. Their music is constantly floating up in outer space somewhere. So imagine the surprise when the first song of this disc opens with some thudding drums. And, there are acoustic instruments aplenty this time around. Their previous disc Hvarf/Heim had them playing a number of acoustic pieces in various unexpected settings. And clearly the experience must have been a good one.
SOUNDTRACK: THE FLAMING LIPS-Transmissions from the Satellite Heart (1993).
It’s easy to see how people could cry about the Lips moving to a major label. I mean, comparing this to Hear It Is, they’re like different bands. Except that they’re not. They’re still the same band, they’re just better, more refined, more mature (maybe) and they know how to use their previous experiments in a way that assists and strengthens the music.
SOUNDTRACK: MOTHERHEAD BUG-Zambodia (1993).
Motherhead Bug is the creation of David Ouimet. David was my boss at Tower Records way back when. He has been in some other influential NYC bands like Swans and Cop Shoot Cop, and he’s worked with Foetus as well. He has since moved on to bigger and better things, including doing wonderfully creepy illustrations for YA books (like Cat in Glass and Double-Dare to Be Scared).
SOUNDTRACK: EXPLOSIONS IN THE SKY-How Strange, Innocence (2005).
Explosions in the Sky is one of those instrumental bands that the kids are raving about these days. Bands have been doing instrumentals forever, really, but I guess about a decade or so ago, some bands started specializing in an all instrumental format. Bands like Scenic, Mogwai and Godspeed You Black Emperor are probably the forefathers, although to be honest I can’t think of too too many more bands doing the style (aside from the Constellation Label in general). These bands work a great, atmospheric sound, usually building to a crescendo and pulling away before reaching the ultimate climax. This album is EITS’ first, recently reissued. There are some bands who hit their stride running on their first record, these usually seem to be bands that aren’t too complicated. Nothing wrong with them, in fact their debuts are often stellar, as if they were born playing their style. EITS is not one of these bands. 
I Just Read About That... 