I was talking to a wonderful painter. While ago. Playing an SYR in the background. He said, 'Ah, this reminds me of Stockhausen.' As an art teacher he'd played Stockhausen for the schoolchildren in his class and their work had gained freedom and courage. Lines became more spontaneous, colours more daring.
SYR 4 found Sonic Youth engaged in the experimental notational scores of several modern classical 20th century composers. They left their own distinctive fingerprints while respecting the original intentions of the graphic compositions. Some rock fans were angered, some serious music buffs were taken aback. Rules and restrictions still seemed to apply. But not for this open-minded group. Other SYR records focused on those guitars; jagged, enveloping textures of eerie, threatening sound. Sometimes, Kim Gordon would sing, moving from a breathy hush to a challenging howl, continually sensual and disconcerting. This latest SYR record is a soundtrack to a French movie titled 'Simon Werner a Disparu.' It is subtly beautiful and idiosyncratic. Splashes, clicks, scratches disturb the reassuring, reflective flow. High frequencies, pianos, was that the cold blue rumblings of the ocean I heard or the gleaming drift of a night drive through Paris. Spaced-out and contemplative, they pick up electric speed and rhythm then float back into slow echoing chords. A beguiling episode in a fascinating series.
