Sonic Youth Quotes
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You're always going to feel like you're catching up, and part of that is just balancing work and motherhood and the whole feeling of needing to please, which I do think girls and women feel more than men.
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We're like old people now playing music. I'm so glad we stuck it out because it's a lot better. I used to feel kind of anxious. Now our apprenticeship is over.
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We're all very sensitive that Jim has the shortest history with the band. He wants to be somewhat of a free agent. I'm just going to let time dictate how Jim's future evolves.
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Kids think of us as being totally over the hill.
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The Grateful Dead always had their iconography down pat.
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I just think that playing bass, like punk rock bass with a pick, wasn't meant to be done for 25 years.
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Traditional songwriting, to us, is where the experimental nature comes in. We're all involved with so much outside activity with really hardcore, experimental music-making.
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Sonic Youth has always been the vehicle for my writing, you know, because it's a collective songwriting entity: we write our songs as a group.
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I'd rather have vinyl and a download code than a CD any day.
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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.
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I'll leave a store if I hate the music. If it's just, like, techno, I feel like my brain is going to explode.
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'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?
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It's easier to write about a celebrity, a personality, than it is to dig in and write about the music.
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Sonic Youth was a collective. There's something fantastic about the idea of making music is a social activity.
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It's hard for bands to stick it out because people grow up, and it never really pays off. If you're looking for some sort of payoff, it's not gonna happen.
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Sometimes, for me, lyrics are derived from poems that I'm working on, and they kind of cross back and forth between the two.
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One of the things I loved - or I love still - about this Occupy movement is it's got a very gentle core. I mean, it's really decidedly nonviolent in the face of all kinds of situations.
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Everyone's so interior now, they're not really looking around them. They're on their phones.
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A friend of mine introduced me to Thurston Moore because she thought I would like him. He was playing with the tallest band in the world, the Coachmen. They were sort of like Talking Heads, jangly guitar, Feelies guitar. Anyway, it was love at first sight. His band broke up that night. And we started playing.
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When we first started, in the early eighties, we had some crappy guitars - Japanese knockoffs that wouldn't hold standard tuning. Later, we'd shove drumsticks or screwdrivers under strings to scheme new noises, sure. But initially, open tuning was a technique used to make our cheap guitars sound better. It wasn't academic or conceptual.
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During the whole time in Sonic Youth, I was happy to put my energy into that. It would have been very difficult to do a solo project.
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When I first moved to New York, I was friends with a lot of dancers - people from Merce Cunningham's company and things like that.
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And then, I was thinking of doing a record just like starting with voice, because I did this one song that was just kind of a cappella, and I did it for this art piece I did where people could come and play music to go with a voice.
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Rock'n'roll saved my soul.