Sonic Youth Quotes
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By the time Sonic Youth formed in 1981, my musical tastes had left the Dead behind, but I was always very proud of the fact that we had three different singers singing individually from different points of view, like the Dead.
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The raw and natural sounds of Aero music don't subtract from it's beauty, instead it creates a rich soundscape for the musician to create within.
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Like everybody else, I love a good pop song. You know, there's nothing like it. I also just really like music that goes off on extended forays of extrapolation into different areas. So it's kind of nice to be able to move between those two poles.
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Usually my records are made trying to capture the essence of a band playing in a room.
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Being a guy who was a geek with tape machines in the early days and really interested in how records get made, I was inspired in particular by how the Beatles were innovating when they were making those records late in their career while using the studio in a maximal way.
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Sometimes it takes us a long time to build up songs, and we really work the structures over and over and build in lots of noisy parts.
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We find that the more you talk about it, the more you head off any spontaneous inspiration that might happen.
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I really liked the Jean-Luc Godard movie, 'Film Socialisme.'
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The band has a liberal philosophy - that's sort of a given.
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Obviously, Sonic Youth has been a huge part of my life for many, many years, and I love all those guys dearly.
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Listening to the Beatles' music figures into pretty much all of my childhood memories.
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To some degree, I consider myself a writer, and so I have a strong relationship with literature.
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'Europe '72' was a super influential record full of fantastic songs and amazing experimental musicianship. I always valued both of those aspects in what Sonic Youth has done through the years - being able to get very abstract and very concrete within the same song.
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When I was in grade school and high school, I did a lot of chorale singing. And the chorus would be tenor, bass, and alto and soprano.
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I felt like the last thing we did, 'The Eternal,' and the touring we did behind it was some of the strongest stuff we'd ever done, and the band was very much a vital entity.
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You don't work in isolation anymore. Anybody can write a song and put it up on the Internet the next day.
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I guess I see 'Goo' half as a really New York record because I think there are a lot of really particular New York references on it, but I also see it, for us, as the first of our records that really opened up to the larger world around us.
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Our audience seems to be able to handle whatever kind of weird opening acts we turn them on to. I mean, sometimes it happens to be something like a band like Nirvana or Mudhoney, and other times, its just weird noise crews that we dig up.
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I have nothing against change or evolution, and I'm not one of those people who wants the city to be what it was 40 years ago or whatever, because that's not what New York is, really.