Customer Reviews

NYC Ghosts & Flowers

5 star:		(27)
4 star:		(19)
3 star:		(3)
2 star:		(9)
1 star:		(5)

 

 

Sonic Youth's latest release, "NYC Ghosts & Flowers," continues the artistic direction they have taken since they hit their creative lull in the early 90s.

In 1988, Sonic Youth released "Daydream Nation," which stood as their masterwork after several years of writing and performing exploratory rock music. They subsequently signed a major-label deal with Geffen/DGC Records where they released a couple of good pop albums, "Goo" and "Dirty." While those albums contained some quality songs, they seemed to suggest that Sonic Youth were taking a break from progressing through their musical explorations. The album following those two, "Experimental Jet Set, Trash and No Star" turned out to be the least interesting of all, as it sounded like an arrangement of outtakes purged from their previous two records.

In 1995, however, Sonic Youth was back on track with the release of "Washing Machine," which hinted at the group's philosophy on performing live. "Washing Machine," however, was just a precursor to "1,000 Leaves," the album that marked Sonic Youth's return to being one of the most intriguing bands in rock music.

"NYC Ghosts" marks a further point in their journey through musical artistry. Melodies creep up behind waves of noise, catching a ride and transforming the sounds into something entirely new and fresh within the same song. Meloncholy tunes are twisted into hints of uplifting ideas and vice versa. The waves crash, and the current pulls them back as new waves begin to form behind them, and reincarnated sounds and melodies jump on for a new ride.

Sonic Youth is back in full form, and it is well worth the listen to see where the new ride takes you.

So what if "NYC Ghosts & Flowers" will not sell a million, and spawn massivly popular radio singles? This is Sonic Youth we are talking about, and only one thing is important in sonikland: the music. And as long as the listener opens their mind to the album, they will surely find something in it. In some ways, this is the album Sonic Youth's entire career has lead up to. There are obvious parts of "Sister", "Experimental Jet Set, Trash & No Star", and of course "A Thousand Leaves", but nods to all of their albums can be found within. Although nothing that qualifies as grunge can be found, the themes are sometimes the same, and the energy is uniquely Sonic. The opener, "Free City Rhymes" is an excellent Thurston song, as good as anything he has written since "Dirty". The Thurston-Kim tag team "Renegade Princess" isn't great, but the guitar might remind the listener of a different time in their career, and makes up for the lyrics. Kim's "Nevermind (What Was it Anyway)" is carried by a brilliant Tom Verlaine influenced guitar part courtesy of Lee Ranaldo. "StreamXSonik Subway" is another strong Thurston number that draws the listener right back in if they haven't been paying attention after "Side2Side", which is not bad, but kind of gets lost in the middle. Thurston's other song, "Small Flowers Crack Concrete" finds him loosely imitating Lee's more poetic style, which works, but not as well as Lee's own fantasic title track. "NYC Ghosts & Flowers" is probably the best song on the album, proving how well the new approach can work. Although many of the songs are augmented with long droning sections of noise and minimalist guitar and drums, they hardly ever detract from the song. Besides, this seems to be an album for fans, and what fan cannot appreciate a little well placed noise here and there? Simply put, "NYC Ghosts & Flowers" is not just another strong effort from THE noise/alt/rock band, Sonic Youth. This is one for history.

Sonic Youth has been a band who successfully hugged the outer edges of rock, embracing even the most unlistenable sounds and combining them with something uncannily poppy. On "nyc ghosts" they continue the trend that established them as one of the true godfathers of punk and avant garde music in America. You'll find more of the twisted harmonies, except you'll notice they're leaning more on the avant side. The poppy melodies here are more currents and lying in the underbelly rather than the main engine that pumps through the chorus, as heard on other Sonic Youth albums. You'll hear more John Cage-ish, experimental orchestral arrangements on this album; more than you'd expect. But then again, you'll hear those harsh sounds perfectly blended with harmonic, angelic harmonies the way only Sonic Youth can pull them off. It's almost as if Sonic Youth were looking back on their musical roots and pointing to specific arrangements and saying to themselves, "Imagine if we did that today." That's what you'll find: a mature look back on the edgy, gritty sounds that established the Youth as a staple in American punk rock. But it's not like a grandpa looking back through an old photo album and reminiscing about the past. It's more like Evel Knievel looking through old footage and saying, "Give me the ramps, dammit, I can do that stunt better."

This is another brilliant record from Sonic Youth. As far as I am concerned, this is the sound of a band that has a lot more distance yet to run. People might look back on the days when they produced lo-fi, quasi-punk albums such as 'Daydream Nation' and 'Dirty' as being their heyday, after which the nineties revealed a steady decline. This is all rubbish. Sonic Youth have never been for the masses - and now they are for the few. It is too much even to think of them as a rock group anymore: the SYR series showed that they have more respect for the dissonant guitar structures of Jim O'Rourke (who produces on this) and modern composers such as John Cage than for punk.

The album opens with 'Free City Rhymes', a track that recalls parts of 'Washing Machine', starts off melodically before disintergrating into familiar chaos. It is not really indicative of what is to follow, but is fantastic nevertheless. 'Renegade Princess' is your true induction: harshly grating sound that will require more than one listen to truly appreciate. 'Nevermind (What Was It Anyway?)' and 'Small Flowers Crack Concrete' both begin slowly and (horror!) with a tune before betraying your trust (in the nicest possible way) by overloading you with bizarre bleeps and frantic drums. 'Side2Side' and 'StreamXSonik Subway', the next two tracks, are the ones that will separate the patient, real fans from those that are still searching for another 'Sister'. Strange but beautiful. Next up: the title track. Similarly structures to the opener, but the mood completely different. It really 'feels' like walking through a city falling apart at the hands of violence and history. Brilliant! - is this Sonic Youth's best song to date? No - it's 'Lightnin'', the last piece that pushes the boundaries of music even further. Imagine 'Invito Al Cielo' off SYR3 given an adrenalised makeover. And you're close. A perfect end to the best album of the twenty-first century (so far!).

What a strange and beautiful album! I am not an SY fan, I actually bought this on a whim because I dug the cover art by William S. Burroughs (who died shortly before this album came out). SY has always been an elusive band that has received critical acclaim from critics (Rolling Stone) and musicians (Nirvana, Pavement) alike, but has avoided excessive radio play (at least in SoCal) and MTV. How surprised I was to find they'd been around 20 years when this album was released!

The criticisms of this album is that it is too artsy and pretentious. Well, this is NOT a pop album and look elsewhere if you're expecting something like Blink or Britney (or even Foo Fighters) I enjoyed the music here because it strives to be different from Top 40 or even so-called alternative radio.

As the title reveals, this album pays homage to the musical and artistic legends that have originated in or been influenced by NYC and its culture. In addition to Burroughs, there are lyrical and stylistic references to Jack Kerouac, Lenny Bruce, D.A. Levy, Sun Ra, the NY Art Quartet, the Velvet Underground, and possibly others.

There has also been discussion about 9/11 references. The music was recorded over a year before that tragic event but it is frightening how the noises produced on the apocalyptic title track sound like a jet plane moving closer and closer to the listener...

In fact, the reviews for Murray St. say one of the plane engines crashed into the group's recording studio that fateful day.

A long time ago now, or at least what seems like a long time ago, an acquaintance slipped me a copy of an album called "Daydream Nation" by a band I sorta thought I had maybe kinda heard of called Sonic Youth.I popped the tape into my walkman(the CD and the discman still being more or less science fiction in those long ago days of not so very long ago), and experienced one of those rare wonderful epiphanies that you get only a few times in life.Its a cliche of course, but I realized I had almost been waitimg my whole life for those sounds without realizing it.....haven't been the same since, thank goodness.....

Which brings us to NYC Ghosts and Flowers.Does it carry the same life changing shock of the new charge that I....and apparently a lot of others got out of Daydream/Goo/Dirty era Sonic Youth... ...Nah.But how could it?And why should it be expected to?Its a decade or so later.I'm not in the same frame of mind I was ten years ago and neither is Sonic Youth.Nobody is, or at least they shouldn't be, if they've done any living at all. I haven't stayed in place, and I'm not surprised that this band, of all bands, hasn't either.ghosts and flowers is good for what it is.....a document a group dedicated to the idea of experimentation trying with varying degrees of success to keep the music fresh for themselves as well as us, for which they are to be applauded.They don't owe me anything....they already gave me "Hey Joni", which probably saved my life.And I if wanna go back and relive those thrilling moments, well thats what Cds are for.Sonic Youth are just growing up...not old...gracefully.More power to 'em.

After reading some of the reviews here, I feel like I have to stand up for the purpose of this music. Those who are writing reviews are jumping at the chance to judge this album. One of the most admirable aspects of Sonic Youth is that their recordings get better each time you hear them. NYC G & F is an integral part of the fusion of modern art and music and an appreciation for it will take time to develop. The nay sayers are unwilling to accept the fact that the group has matured and evolved into learned artists. NYC G & F transcends modern music and is a wonderful example of art for arts sake in an industry that lost its concept of art a long time ago.

After Sonic Youth accomplished everything they could accomplish, they made A Thousand Leaves and souned miles off their game - or, four musicians phoning in their parts from different planets. The game on this one is more daring and more upsetting - I think it's a concept album of regret, one that says after it's all over, you could possibly spend the rest of yoru life wondering what if. Possibilities of defiance and desire are long gone. That's a profound take for a profound band that shot for a mood and stayed there. I think a lot of people felt frustrated by the record, but it's all part of its brilliant design - it's a dark catharsis of a record.

Catchy songs are just that--they catch you, pull you in, then then when they are finished with you, they leave. True artistry may be found in catchy songs (see "Schizophrenia"), but look deeper and longer on NYC Ghosts & Flowers. Give this disc time, thought, and energy, and you will not be disappointed. The negative reviews are predictable--usually written soon after the disc's release, after only a handful of listens. Give this time, particularly on Lee's brilliant title track, which ranks up there with the best SY has ever recorded. Granted, Thurston's overly dramatic vocals on the coda of "Small Flowers Crack Concrete" borders on embarassing, but the remainder of the work makes up for this momentary lapse. Stop looking for rock songs and just let the noise swirl in your head. Goodbye 20th Century? Perhaps, but NCY G&F seems more like goodbye SY-RockBand--and that's a good thing.

All Sonic Youth have ever been about IS the sound. I'm as old as they are and have been a massive fan since 88'.

As somebody who went to Dead concerts in order to hear what Phil may or may not cook up with SOUND during a space, I am a SY fan of the most dedicated sort. Screw the social/political relevance of pop music. If, when putting my headphones on and clicking "Play" I'm taken to a continent of sound I've never been to before, Eureka!

And SY does it again. EVOL is still their best work, but this is definitely second tier along with Daydream Nation. If you're a SY-head, you've got this album already. If you're not, chances are poor you'll get it anyway...