Rather Ripped (Remaster) Sonic Youth

• 1 Reena 03:48
• 2 Incinerate 04:56
• 3 Do You Believe In Rapture? 03:11
• 4 Sleepin' Around 03:42
• 5 What A Waste 03:34
• 6 Jams Runs Free 03:53
• 7 Rats 04:24
• 8 Turquoise Boy 06:14
• 9 Lights Out 03:32
• 10 The Neutral 04:09
• 11 Pink Steam 06:57
• 12 Or 03:29
• Total Runtime 51:49

Info zu Rather Ripped (Remaster)

Sonic Youth's turn-of-the-century output has shown a marked focus on the more abstract aspects of the band's sound, as evidenced by, if nothing else, the prolific number of experimental releases on the band's SYR imprint, including the double-album tribute to avant-garde composers, „Goodbye 20th Century“. And while to use the phrase 'stylistic departure' is unbefitting of a band with such catholic tastes and influences, the straightforward pop element that marks 2006's „Rather Ripped“, the band's 14th proper studio album, is so pronounced and, to a certain extent, jarring, it's difficult not to focus in on it. From the Thin Lizzy-like twin-guitar interlude on 'Incinerate' to the gentle lullaby melody of 'Do You Believe in the Rapture' (arguably the loveliest song Sonic Youth has produced since 'Diamond Sea') to Kim Gordon's newfound pop croon on the opener, 'Reena,' and 'Turquoise Boy,' the band hasn't made a record with this many fun, enjoyable tunes in years. Of course, accessible is a relative word when discussing Sonic Youth, and by no means has the band lost its edge. Even at its most poppy, Sonic Youth still twist and gnarl any rock troupe they encounter. But on „Rather Ripped“, the band that essentially created noise rock have once again placed the rock front and center.

„Considering that Sonic Youth lost Jim O'Rourke and found the custom-tweaked, irreplaceable guitars that were stolen in 1999 before heading into the studio to make Rather Ripped, it seemed that the album could be a big departure from what they'd been doing on Murray Street and Sonic Nurse -- possibly a return to the kind of music they could only make with those instruments, or perhaps an entirely different approach that reflected their revamped, old-is-new-again lineup. Rather Ripped ends up being of a piece with their previous two albums, and often plays like a stripped-down, slightly less-inspired Sonic Nurse. Once again, Kim Gordon contributes some of the best tracks here; 'Reena' and 'Jams Run Free' are equal parts dreamy and driving, while 'The Neutral' is a sweet, low-key love song. Thurston Moore contributes a gently but powerfully political track à la Sonic Nurse's 'Peace Attack' with 'Do You Believe in Rapture?,' a reflection on peace and apocalypse that's mostly serene, even if the guitar harmonics throughout the song add shivers of doubt and tension. 'Rats' is a standard-issue Lee Ranaldo song, freewheeling and poetic (and with lines like 'Let me place you in my past/With other precious toys,' it has the sharpest lyrics on Rather Ripped), even if it's not quite as amazing as the previous album's 'New Hampshire.' Rather Ripped's rock songs are solid, but not amazing -- the interplay of Moore's and Ranaldo's guitars and Steve Shelley's drumming are the best things about 'Sleepin' Around' and 'What a Waste.' Actually, the more atmospheric songs end up being some of the most compelling. 'Lights Out' reeks of whispery, late-night cool, and the closing track, 'Or,' is one of the sparest and most oddly unsettling songs Sonic Youth has done in a while (not to mention a reminder that quiet doesn't always mean peaceful in this band's world). Rather Ripped is also surprisingly lean, with the songs on its first half feeling so tightly structured that they seem like radio edits. Only 'Turquoise Boy' and 'Pink Steam' really open up and deliver Sonic Youth's famously sprawling, jam-based sound. If Rather Ripped is a tiny bit disappointing, it's only because the band's playing outpaces their songwriting ever so slightly. It's a solidly good album, and if taken as part of a trio of albums with Sonic Nurse and Murray Street, it shows that Sonic Youth is still in a comfortable yet creative groove, not a rut.“ (Heather Phares, AMG)

Kim Gordon, vocals, guitar, bass
Thurston Moore, guitar, vocals
Lee Ranaldo, guitar, vocals
Steve Shelley, drums


Recorded December 2005 – January 2006 at Sear Sound in New York City
Engineered by John Agnello, Lee Ranaldo, TJ Doherty, Chris Allen, Aaron Mullan
Produced by Sonic Youth, John Agnello

Digitally remastered

Sonic Youth
began way back in 1980 in the downtown disaster unit of NYC. First three records (Sonic Youth, Confusion is Sex, Kill Yr Idols) began in 1981 on the Neutral label started by Glenn Branca. They then signed to Gerard Cosloy’s Homestead imprint releasing Bad Moon Rising and the Flower/Halloween 12” to universal intrigue and acclaim. They switched labels to release records (Sister, Evol) on SST, the Southern California label overseen by Greg Ginn of Black Flag, while Mr. Cosloy went on to join Matador Records with Chris Lombardi. Concurrently they established a relationship with Paul Smith and Blast First Records in the UK co-releasing the Homestead and SST titles and culminating with the massive end of the decade double LP Daydream Nation, since added to the National Recording Registry at the Library of Congress. The band signed to DGC/Geffen in 1990 and began an ascendant affair there releasing Goo and Dirty to much heated excitement until the label became a scattered asylum. They continued to release strange, out-of –step recordings with Geffen throughout the 90s and early 2000s. Young wizard Jim O’Rourke came on board with the band as a multi-instrumentalist/producer collaborating on two of their most progressive LPS to date, Murray Street and Sonic Nurse, as well as the ongoing series of experimental LPs on the bands own SYR imprint. After Jim’s departure, and after releasing Rather Ripped, their final statement on Geffen (and which ranked third in Rolling Stone's Top 50 Albums of 2006) the band recruited their pal from compatriot 90s band Pavement, Mark Ibold, to play bass. After a solid bout of touring Mark joined the band in the recording of The Eternal. The cover art is a painting by the late, great American folk artist John Fahey. This is where we live forever. Sweet dreams…

Dieses Album enthält kein Booklet