Red Mosquito

Wendy Carlos's Twin wrote:MEGA doesn't work with Internet Explorer. So I have to install a new browser to download it. Wonderful.

tragabigzanda wrote:

tragabigzanda wrote:Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb

I'd maybe bump Life & Limb for Epic Problem

tragabigzanda wrote:

tragabigzanda wrote:Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb

I'd maybe bump Life & Limb for Epic Problem

tragabigzanda wrote:So I wrapped up Disc 5, and I think the songs that really stand out are the older ones that feel well-worn, but are captured with modern fidelity. Kotton Krown, Kissability, 100%, She Is Not Alone, and Making the Nature Scene all benefit from years of practice -- they feel loose and spontaneous in a way that is not as apparent on the studio cuts.

Other highlights are Unmade Bed and Stones, both of which are just stellar performances -- nice picks, Matt.
Pattern Recognition is almost too similar to the studio cut -- it's such an amazing song, and I'm blown away that they can replicate it so well live.
I Love You Golden Blue is the only one that really feels underwhelming. It's one of my absolute favorite songs, and the sense of fragility is sort of lost in the live setting.

One last note for now -- capturing/mixing guitar feedback can be really difficult to do without hurting the ears. Whether it's their live audio team, or Matt's work, those elements are done really well here. All manner of squeals and bleeps jump out without ever overpowering the mix.

Terrific work on disc 5.

tragabigzanda wrote:Some thoughts on Disc 2, 1986-1989:

Sequencing and mastering are fantastic. While they sound is a little muffled due to the older recordings, there's nothing here that I would call lo-fi. Highlights include Shadow of a Doubt, which is noticeably heavier than the album version; Kotton Krown, Schizophrenia, Stereo Sanctity, Tuff Gnarl, and The Sprawl, all of which benefit from the looseness of the live setting; and the final trilogy, which is just a blast to hear live. Ruben's Beard is a great find -- I had never heard this before, and I love the juxtaposition of the heavy riff with the ethereal break.

Kim sounds absolutely awful on 'Cross the Breeze, like she's gagging on her own vomit. It's an aspect of SY that I never really loved, and I'm so happy she's evolved into a much more confident singer -- I always felt like this approach she used to take was to cover up an insecurity. The lack of bass on the Washington cuts (particularly Hey Joni and Kissability) is a little jarring. And this is nit-picky, but I found the first song on this disc, the Expressway to Yr Skull demo, to be a little superfluous, or maybe just an odd choice for an opener. I actually like it better than the album version right out of the box, but it feels a little funny going from a studio demo to a run of live cuts.

Altogether a great collection. I think that this disc highlights various growths, or lack of growth, that the band has displayed over time: Steve Shelley was a monster even back then, and the energy of his drumming was maybe a little subdued by the production choices on his early records with the band; Lee and Thurston's guitar playing hasn't really changed much in the years that followed -- while their approach to their instrument has certainly evolved, I don't know that their skill has grown at all; and it's clear that Kim has grown by leaps and bounds since the early days. Both her playing and singing have evolved to showcase a greater range, and more confidence.

Thanks again Matt! I will likely throw this one on during future rainy days at home.

tragabigzanda wrote:Thanks for the insights, Matt.

I just wrapped up Disc 4, 1994-1999. I knew this would be a mixed bag for me, because apart from The Diamond Sea, I rank Washing Machine towards the very bottom of my SY list; yet the other selections on this disc are amongst my very favorite songs they've ever done.

Terrific sequencing with tracks 1-5. Stil is one I hardly ever listen to, and I think it works really well as an intro to this disc. The two tracks from EJST&NS are both excellent, and even Washing Machine rises above the studio cut for me. The brief interview with Thurston was a great touch, and it serves as a nice little end-cap to the first four songs that show the range they were working in at this time.

Junkie's Promise, Saucer-like, and Becuz are all a low point for me, but I still like them better than the album cuts. There's something about the Washing Machine album that always struck me as a little forced -- like they were posturing this sort of ugly, art-rock position on most of the songs. But here, these three songs feel more loose and natural than on the record, and I was able to enjoy them more (especially Becuz, which, if this were the only version I'd ever heard, I would actually like very much).

Self-Obsessed and Hits of Sunshine are two of my favorite SY songs. Here, the former has a great energy missing from the studio cut (not better, just different), while Hits of Sunshine seems to suffer from the same problem I found with Golden Blue, in that a lot of the fragility of a very quiet song is lost in the live setting. Those two have such a great atmosphere on their respective records, and I can really hear the air in the silences, but I just don't get that here.

This version of Shadow of a Doubt is much closer to the studio cut than the heavier version on Disc 2. It's a nice juxtaposition, but I don't know that it was as interesting/essential as the heavier version.

Karen Koltrane is AWESOME, definitely one of my favorites from this set so far. It could easily have the same issues as Hits of Sunshine and Golden Blue, yet it doesn't -- it has all the quiet energy of the studio cut, and it's a treat to hear it captured live.

Blonde Redhead is a curious oddity -- I had never heard this cover before. I'm happy you included it, because it's super rare, but I don't know that I love it. Just sort of there for me.

I'm curious why you chose this particular version of The Diamond Sea? It's one of my favorite songs of all time, and I know there are lots of them out there. FWIW, I think the definitive version is the extended cut on Destroyed Room. I liked this one just fine, but it didn't really take off until the middle jam, and the recording sounds pretty hot. So while I did enjoy it, I'm wondering why you picked this one out of all the others available?

Again, great work Matt. I'm having a blast digesting this, and look forward to making my own mix from my favorite cuts once I've sorted through them all.

tragabigzanda wrote:

tragabigzanda wrote:Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb

I'd maybe bump Life & Limb for Epic Problem

tragabigzanda wrote:Listened to Disc 1: 1981-1985 today. The first three tracks work as a great intro to this set -- it's the SY sound at a very embryonic stage, and I'm surprised the recording sounds as good as it does. Good call on starting with two instrumentals, then adding vox on the third track. Matt, any idea if this was their first rehearsal, their tenth, etc?

The disc picks up momentum with Shaking Hell and The World Looks Red, the latter of which is one of my very favorites from this period. It's a song I don't listen to often, but it's always a highlight when I hear it, like at the Battery Park show in '08. I love hearing the energy of the track way back then, and I gotta say that the recording is pretty great, all things considered.

Death Valley '69 is FUCKING SIIIIIIICK! I love this song so much, and this version is top-notch. I couldn't say for sure if the female vox were Lydia Lunch or Kim on this? I think it's Kim. The guitar buildup during the break is awesome.

Brave Men Run is fine, but it's never been a favorite of mine. I Love Her All the Time is a highlight of this disc -- it's a great, moody version. The pop music playing in the background at the beginning is a funny touch, and it adds a sense of time and place to exactly what SY were going for.

Brother James is good, but it's another one I've never loved. Flower, on the other hand, is a set highlight for me. It's another one of my favorite SY songs, and this one has a tension that's lacking in the studio cut; it takes on a new hypnotic chant-like quality. I actually think I like this one better than the album version! Kill Yr Idols also takes on an energy I think is lacking from the studio cut.

Satan Is Boring has never done anything for me. I appreciate it as a tongue-in-cheek take on goth music, but that's about it.

I knew this would be one of the least rewarding discs for me going in. Their early Branca-inspired stuff is often lacking in the tension-and-release that they began to explore shortly after. World Looks Red, Death Valley '69, I Love Her All the Time, and Flower are all highlights from this entire set -- they'll definitely be going on the final playlist I put together. But the rest of this disc is good for me to have for collection's sake, but likely won't be getting much more play (unless I'm hanging with my other SY-loving buddy). Still, great work all around on this disc, Matt. I can imagine this one was sort of a nightmare to make sound consistent (or even audible) from start-to-finish, and my hat's off to you for pulling it off so well.

tragabigzanda wrote:

tragabigzanda wrote:Top 10 maybe?
Hello Morning
Close Captioned
The Kill
Place/Position
Do You Like Me?
Latest Disgrace
Recap Modotti
Nightshop
Break
Life & Limb

I'd maybe bump Life & Limb for Epic Problem

Leatherhead wrote:I've been listening to a fair amount of Sonic Youth lately, so far I'm working on Daydream Nation, Goo, and Dirty. I don't know much about SY, but I've heard it all ended, or nearly ended really badly, some shit about Thurston Moore cheating on Kim Gordon for years. Sometimes when listening to the music, the knowledge, or lack thereof, of Thurston Moore and Kim Gordon's relationship/break-up comes to mind and really starts to bug me, because I stop listening to the music and start thinking about how much of an asshole Thurston Moore must be. I don't think it would bug me so much if both parties weren't in the band together. While listening to the music I picture the band playing together, Kim and Thurston looking at each other from across the stage, but the whole time Thurston's thinking about banging somebody else. Any ideas on how to get past this? It's quite annoying/bothersome.