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Chris Lawrence · 10.06.2023, 02:50 AM

page 10

10.16.2020, 09:22 PM #181 The Soup Nazi

By The Fire in its entirety (as an album, with its own page and whatnot

) is now on Bandcamp. Download-only, though. A kind friend ordered me a copy from Forced Exposure. Anyway, https://thurstonmoore1.bandcamp.com/album/by-the-fire

10.20.2020, 10:33 PM #182 The Soup Nazi

From Alan Licht's Bandcamp page:

Nels Cline, Carlos Giffoni, Alan Licht & Lee Ranaldo--Nothing Makes Any Sense

Original sealed CD of a live show recorded at Tonic in 2007, released by No Fun Productions. Gatefold hard cardboard digipak with "liner notes" by Peter Laughner. Cover art by Lee Ranaldo.

Laughner had been dead for thirty years by then, hence the scare quotes...

12.04.2020, 12:40 AM #184 The Soup Nazi

The year's last Bandcamp Friday starts in a coupla hours, and the sonic cats have new goodness for us. First:

Live In Copenhagen 2000

A good snapshot into the Sonics' live state of mind circa 2000 in the form of a sprawling, and often exploratory set of some standards and five tracks from their recently-released NYC Ghosts & Flowers. While not pleasant to invoke the infamous gear theft in California prior to that album's birth, it's somewhat important for perspective here. The creation of the album not only inspired recommission of guitars that hadn't been dragged out in a long time (as well as breaking in new gear), but the band's creation process itself became revamped in a way definitely reflected in the twisting, expansive record. I always kinda thought of it as a big ball of twine, with all the individual components being dense yet leaving great space for its players; Jim O'Rourke's studio aid evolved into him joining the live lineup here allowing often for Kim's guitar figures to factor more into the equation. When Lee announces at the top of the set "we're gonna take our time tonight and play real slow and long," ensuing opener "Schizophrenia" swirls more delicately than some of the roaring '87 initial live versions, though throttlers like "White Kross" and "Brother James" stoke up the usual fire and add additional blast with the expanded lineup.

But showcasing of the new songs here is the key stamp of this gig, which plays like a soundtrack more than just a standard rock gig. On record and as a concept, the LP most certainly illuminated the spirit of NYC's fiery poetic past (especially the late 60's) where writers, free-verse-spielers, jazz musicians, impressionist filmmakers blurred and co-existed. While SY always processed/re-zoned/reflected the multi-culti elements of NYC live, their transferral of these particular songs to live forum made for a heightened meditative element to their rock experience more than ever (to this point). "Nevermind (What Was It Anyway)" steams and simmers into long passages of Kim's free intonations, the slow cauldron bubble of "Lightnin's" intro over the mild traffic free-jam of FX is reminiscent of her call-and-response ala "Ghost Bitch's" disruptive stew of yore. "Free City Rhymes" features a slow burn of arpeggios and harmonics with Thurston's voice also in hovering/orating mode, and Lee's natural Beat penchant to infuse such lyrical approach into SY's overall vibe is at high tide on "NYC Ghosts & Flowers", a real set peak. "Renegade Princess'" Neu-chug gives way to a long cool-outro with geyser-like emissions of shifting shapes and new brushstrokes.

This gig is the sound of the band locking down new live potential and vocab, easing back when needed to let the colors blend into the mix, new phrases to evolve, letting songs rise and fall naturally. While these particular poetic/collage-like elements in the setlist are punctuated by some classics, you can almost sense SY were about to embark on a live period that spotlighted their enthusiasm to chase down all the sounds this new lineup and instrumentation hinted at. Surely it wasn't long before the SYR recordings and often fully-instrumental live sets sans the classics started to pop into focus, but for now this show, like NYC itself, displays the great pastiche of elements coming together to create something all new.

- Brian Turner

12.04.2020, 12:45 AM #185 The Soup Nazi

And second... the last Wylde Ratttz number. NOOOOO - I WANT MORE RATTTZ! Oh well.

Shed

The Wylde Ratttz recorded an epic late night of improvised instrumental space jams during their 1997 album sessions. SHED/SACK/PLUG is the fourth and final of a series of singles and eps of those recordings.

released December 4, 2020

Ron Asheton: Guitar.
Sean Ono Lennon: Multitronics.
Thurston Moore: Guitar, electronics.
Steve Shelley: Drums, percussion.
Mike "Pipe" Watt: Bass, Beam.

Produced by Don Fleming for Instant Mayhem Productions
Recorded and mixed by Bil Emmons in NYC, 1997
Mastered by Greg Calbi

The Ron Asheton Foundation carries on charity work that Ron spent many years quietly doing in the Ann Arbor community where he had such strong ties. The RAF post a lot of killer Asheton and Stooges content, so check out their socials and website.

10.06.2023, 02:50 AM	#11
Chris Lawrence Moderator Join Date: Mar 2006 Location: southwest canada Posts: 1,884	page 10 10.16.2020, 09:22 PM #181 The Soup Nazi By The Fire in its entirety (as an album, with its own page and whatnot ) is now on Bandcamp. Download-only, though. A kind friend ordered me a copy from Forced Exposure. Anyway, https://thurstonmoore1.bandcamp.com/album/by-the-fire 10.20.2020, 10:33 PM #182 The Soup Nazi From Alan Licht's Bandcamp page: Nels Cline, Carlos Giffoni, Alan Licht & Lee Ranaldo--Nothing Makes Any Sense Original sealed CD of a live show recorded at Tonic in 2007, released by No Fun Productions. Gatefold hard cardboard digipak with "liner notes" by Peter Laughner. Cover art by Lee Ranaldo. Laughner had been dead for thirty years by then, hence the scare quotes... 12.04.2020, 12:40 AM #184 The Soup Nazi The year's last Bandcamp Friday starts in a coupla hours, and the sonic cats have new goodness for us. First: Live In Copenhagen 2000 A good snapshot into the Sonics' live state of mind circa 2000 in the form of a sprawling, and often exploratory set of some standards and five tracks from their recently-released NYC Ghosts & Flowers. While not pleasant to invoke the infamous gear theft in California prior to that album's birth, it's somewhat important for perspective here. The creation of the album not only inspired recommission of guitars that hadn't been dragged out in a long time (as well as breaking in new gear), but the band's creation process itself became revamped in a way definitely reflected in the twisting, expansive record. I always kinda thought of it as a big ball of twine, with all the individual components being dense yet leaving great space for its players; Jim O'Rourke's studio aid evolved into him joining the live lineup here allowing often for Kim's guitar figures to factor more into the equation. When Lee announces at the top of the set "we're gonna take our time tonight and play real slow and long," ensuing opener "Schizophrenia" swirls more delicately than some of the roaring '87 initial live versions, though throttlers like "White Kross" and "Brother James" stoke up the usual fire and add additional blast with the expanded lineup. But showcasing of the new songs here is the key stamp of this gig, which plays like a soundtrack more than just a standard rock gig. On record and as a concept, the LP most certainly illuminated the spirit of NYC's fiery poetic past (especially the late 60's) where writers, free-verse-spielers, jazz musicians, impressionist filmmakers blurred and co-existed. While SY always processed/re-zoned/reflected the multi-culti elements of NYC live, their transferral of these particular songs to live forum made for a heightened meditative element to their rock experience more than ever (to this point). "Nevermind (What Was It Anyway)" steams and simmers into long passages of Kim's free intonations, the slow cauldron bubble of "Lightnin's" intro over the mild traffic free-jam of FX is reminiscent of her call-and-response ala "Ghost Bitch's" disruptive stew of yore. "Free City Rhymes" features a slow burn of arpeggios and harmonics with Thurston's voice also in hovering/orating mode, and Lee's natural Beat penchant to infuse such lyrical approach into SY's overall vibe is at high tide on "NYC Ghosts & Flowers", a real set peak. "Renegade Princess'" Neu-chug gives way to a long cool-outro with geyser-like emissions of shifting shapes and new brushstrokes. This gig is the sound of the band locking down new live potential and vocab, easing back when needed to let the colors blend into the mix, new phrases to evolve, letting songs rise and fall naturally. While these particular poetic/collage-like elements in the setlist are punctuated by some classics, you can almost sense SY were about to embark on a live period that spotlighted their enthusiasm to chase down all the sounds this new lineup and instrumentation hinted at. Surely it wasn't long before the SYR recordings and often fully-instrumental live sets sans the classics started to pop into focus, but for now this show, like NYC itself, displays the great pastiche of elements coming together to create something all new. - Brian Turner 12.04.2020, 12:45 AM #185 The Soup Nazi And second... the last Wylde Ratttz number. NOOOOO - I WANT MORE RATTTZ! Oh well. Shed The Wylde Ratttz recorded an epic late night of improvised instrumental space jams during their 1997 album sessions. SHED/SACK/PLUG is the fourth and final of a series of singles and eps of those recordings. released December 4, 2020 Ron Asheton: Guitar. Sean Ono Lennon: Multitronics. Thurston Moore: Guitar, electronics. Steve Shelley: Drums, percussion. Mike "Pipe" Watt: Bass, Beam. Produced by Don Fleming for Instant Mayhem Productions Recorded and mixed by Bil Emmons in NYC, 1997 Mastered by Greg Calbi The Ron Asheton Foundation carries on charity work that Ron spent many years quietly doing in the Ann Arbor community where he had such strong ties. The RAF post a lot of killer Asheton and Stooges content, so check out their socials and website. __________________ http://www.sonicyouth.com/mustang // original folk blues ... . . . . . . . . . . . . . . . . . . . . . . . . . . .i'm the boy that can enjoy invisibility. . . . . . . . . . . . . . . . . . . . . . . . .
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