#James Sedwards

[bushdog]

Thurston Moore is set to release his ninth solo album this September. Titled Flow Critical Lucidity, the seven-track record was recorded at London’s Total Refreshment Centre. Moore is joined on the record by Deb Googe (bass), Jon Leidecker (electronics), James Sedwards (piano, organ, guitar and glockenspiel) and Jem Doulton (percussion). Some of the songs on the album were written and arranged by Moore in Europe and the UK, and include lyrical references to their environments inspired by nature, lucid dreaming, modern dance and the late dancer Isadora Duncan.

Thurston Moore Details New Album, 'Flow Critical Lucidity' | The Quietus

[rollingstonemag]

Un nouvel article a été publié sur https://www.rollingstone.fr/thurston-moore-itw/

INTERVIEW - Thurston Moore, pédales au plancher

Le légendaire guitariste de Sonic Youth sera en concert ce dimanche 27 janvier en clôture du festival Bordeaux Rock ; Rolling Stone en a profité pour poser cinq questions à un des grands druides du bruit

Vous êtes considéré comme un pionnier du genre noise : qu’est-ce qui a le plus changé entre vos premiers disques et les derniers ?

À l’époque je ne considérais pas ma musique comme étant “noise”, juste expérimentale. C’était surtout une question de préparation et de modification de l’instrument : j’utilisais des baguettes, des objets en acier, ça multipliait les possibilités de ma guitare. Puis au fil du temps je suis revenu à un jeu plus traditionnel. C’est là que j’ai commencé à m’intéresser aux pédales d’effets, ça m’a permis d’explorer de nouvelles sonorités, tant pour la composition que pour l’improvisation. Au final je suis le même qu’en 1977, pour le meilleur et pour le pire.

Vous étiez à Rock en Seine en 2015, on vous retrouve cette année au festival Bordeaux Rock : quelle relation entretenez-vous avec le public français ?

C’était très difficile de venir jouer en France au début des années 80, c’était une scène très sélective. Les Cramps et Johnny Thunders étaient très appréciés, puis il y a eu Husker Du, dont on a assuré la première partie à nos débuts. À partir de ce moment-là, d’un coup, on est devenus très populaire en France. C’était une vraie victoire. D’autant plus que j’adore votre culture, que ce soit l’art, le jazz, la littérature, la cuisine, le vin, le rock’n’roll – tout ce qui fait que la vie vaut la peine d’être vécue, en somme.

Votre dernier album, Rock n Roll Consciousness, a été produit par Paul Epworth, un des producteurs les plus prolifiques du rock et de la pop britanniques des années 2000. Pourquoi avoir fait appel à lui ?

Paul est surtout connu pour avoir travaillé avec Adele. Mais j’ai surtout entendu parler de lui pour son travail avec The Pop Group – ils les adorent et sont amis depuis la révolution pop-culturelle de Bristol dans les années 80. Je suis allé le voir dans son studio, The Church, et je me suis dit que ce serait l’endroit parfait pour enregistrer Rock n Roll Consciousness, qui est un traité de spiritualité et de guérison par l’amour.

Parlez-nous de votre groupe : comment vous êtes-vous rencontrés ?

Ça fait quelques années maintenant que je travaille pas mal avec James Sedwards, Deb Googe et Steve Shelley. J’ai rencontré Deb dans les années 80, quand Sonic Youth et My Bloody Valentine jouaient ensemble, et j’ai toujours admiré son jeu de basse brutal et en même temps bourré de groove. Steve est un de mes plus vieux amis et un génie des percussions. J’ai rencontré James via ma femme, Eva, c’est un guitariste remarquable, on s’est de suite entendus avec ses goûts : Led Zeppelin, The Fall, tous ces effets. C’est grâce à lui que Deb nous a rejoints, ils sont amis. Et nous voilà. Comme Steve vit aux États-Unis, je fais parfois appel à d’autres batteurs – comme Jem Doulton. En ce moment on joue avec encore plus de guitaristes. J’ai récemment fait un concert avec douze guitares 12-cordes – acoustiques et électriques – et nous avons joué, tous les quatre, avec deux guitaristes supplémentaires, Jen Schande et Alex Ward.

Un nouvel artiste ou un nouveau groupe qui a attiré votre attention récemment ?

Avec Eva, on vient de sortir le premier album de Big Joanie, un trio punk féminin originaire de Londres, qui est fantastique. J’aime beaucoup également un groupe qui s’appelle Guttersnipe, de Londres également, et Pega Monstro de Lisbonne. Il y a tellement d’artistes solo brillants, de très grands improvisateurs en art rock, noise, folk, etc. Il y a quelques trucs mainstream que j’aime aussi énormément, comme Lana Del Rey et Solange. Mais de manière générale, j’écoute surtout les bruits de la campagne et le son délicieux du souffle de ma compagne.

Matthias Haghcheno

[dustedmagazine]

Thurston Moore — By the Fire (Daydream Library)

Photo by Vera Marmelo

Thurston Moore’s seventh solo album reconvenes the ensemble that made Spirit Counsel and nudges them Sonic Youth-ward. His core band of Deb Googe, Jon Leidecker, James Sedwards is back, with alternating drummers Steve Shelley and Jem Doulton, but this time instead of diving into prolonged, instrumental free-for-all, the music coalesces around songs. Most of the elements that made Sonic Youth compelling — the alternate tunings, the preternatural guitar clarity, the dada-ish lyrics, the crunch and roar of rock — are in place here. There’s no Kim, obviously, which tips the music a bit further from art punk into testosterone-fueled guitar-dom (check the Hendrix-y solo in monster-rocking “Cantaloupe”), but considering how far afield Moore’s solo records have drifted, this one is remarkably Sonic Youth-like.

“Cantaloupe” is the album’s sludge-y highlight, its distorted guitar/bass chug powering through it like a disconsolate beast, its elliptical poetry abstract and sexual and, hoo boy, that guitar solo. “Siren” trends more towards the luminous clarity of late-SY, its piercing guitar tones laid in lush, lyrical layers atop the hard thump of drums. It’s a long sprawling jam, rolling out in gentle modulations, with a mid-cut freak-out dividing the instrumental first half from a gentler, folk-sung second half. It’s like hearing “The Diamond Sea” lead into a cut from Demolished Thoughts, but it works.  

The disc’s longest cut is “Locomotives,” a drone and a jangle anchored by pounding, primitive drums. It’s the sort of piece that comes at you in waves, building and receding, swelling and subsiding, with big space rock climaxes that are full of mysterious electronic sounds (that’s Leidecker, I assume). The cut has a wonderful head-trippy aura, the percussion like a stone age ritual, the mesh of guitar and synthetic sounds glistening with futurism.

There’s quite a lot of music here, some tracks abstract and open-end, others more conventionally song structured, all of it rather good. “They Believe in Love (When They Look at You)” splits the difference nicely, with an extended motorik vamp, a slanting rain of oddly-tuned guitar tones, a visceral gut-check that goes straight to your head, and then, all of the sudden, there’s Moore singing, cool and dispassionate, and what has been anything but a straight-ahead rock song turns into one, just like that.

Jennifer Kelly

[matthias-songbook]

Thurston Moore, pédales au plancher

Le légendaire guitariste de Sonic Youth sera en concert ce dimanche 27 janvier en clôture du festival Bordeaux Rock ; Rolling Stone en a profité pour poser cinq questions à un des grands druides du bruit

Vous êtes considéré comme un pionnier du genre noise : qu’est-ce qui a le plus changé entre vos premiers disques et les derniers ?

À l’époque je ne considérais pas ma musique comme étant “noise”, juste expérimentale. C’était surtout une question de préparation et de modification de l’instrument : j’utilisais des baguettes, des objets en acier, ça multipliait les possibilités de ma guitare. Puis au fil du temps je suis revenu à un jeu plus traditionnel. C’est là que j’ai commencé à m’intéresser aux pédales d’effets, ça m’a permis d’explorer de nouvelles sonorités, tant pour la composition que pour l’improvisation. Au final je suis le même qu’en 1977, pour le meilleur et pour le pire.

Vous étiez à Rock en Seine en 2015, on vous retrouve cette année au festival Bordeaux Rock : quelle relation entretenez-vous avec le public français ?

C’était très difficile de venir jouer en France au début des années 80, c’était une scène très sélective. Les Cramps et Johnny Thunders étaient très appréciés, puis il y a eu Hüsker Dü, dont on a assuré la première partie à nos débuts. À partir de ce moment-là, d’un coup, on est devenus très populaire en France. C’était une vraie victoire. D’autant plus que j’adore votre culture, que ce soit l’art, le jazz, la littérature, la cuisine, le vin, le rock’n’roll – tout ce qui fait que la vie vaut la peine d’être vécue, en somme.

Votre dernier album, Rock n Roll Consciousness, a été produit par Paul Epworth, un des producteurs les plus prolifiques du rock et de la pop britanniques des années 2000. Pourquoi avoir fait appel à lui ?

Paul est surtout connu pour avoir travaillé avec Adele. Mais j’ai surtout entendu parler de lui pour son travail avec The Pop Group – ils les adorent et sont amis depuis la révolution pop-culturelle de Bristol dans les années 80. Je suis allé le voir dans son studio, The Church, et je me suis dit que ce serait l’endroit parfait pour enregistrer Rock n Roll Consciousness, qui est un traité de spiritualité et de guérison par l’amour.

Parlez-nous de votre groupe : comment vous êtes-vous rencontrés ?

Ça fait quelques années maintenant que je travaille pas mal avec James Sedwards, Deb Googe et Steve Shelley. J’ai rencontré Deb dans les années 80, quand Sonic Youth et My Bloody Valentine jouaient ensemble, et j’ai toujours admiré son jeu de basse brutal et en même temps bourré de groove. Steve est un de mes plus vieux amis et un génie des percussions. J’ai rencontré James via ma femme, Eva, c’est un guitariste remarquable, on s’est de suite entendus avec ses goûts : Led Zeppelin, The Fall, tous ces effets. C’est grâce à lui que Deb nous a rejoints, ils sont amis. Et nous voilà. Comme Steve vit aux États-Unis, je fais parfois appel à d’autres batteurs – comme Jem Doulton. En ce moment on joue avec encore plus de guitaristes. J’ai récemment fait un concert avec douze guitares 12-cordes – acoustiques et électriques – et nous avons joué, tous les quatre, avec deux guitaristes supplémentaires, Jen Schande et Alex Ward.

Un nouvel artiste ou un nouveau groupe qui a attiré votre attention récemment ?

Avec Eva, on vient de sortir le premier album de Big Joanie, un trio punk féminin originaire de Londres, qui est fantastique. J’aime beaucoup également un groupe qui s’appelle Guttersnipe, de Londres également, et Pega Monstro de Lisbonne. Il y a tellement d’artistes solo brillants, de très grands improvisateurs en art rock, noise, folk, etc. Il y a quelques trucs mainstream que j’aime aussi énormément, comme Lana Del Rey et Solange. Mais de manière générale, j’écoute surtout les bruits de la campagne et le son délicieux du souffle de ma compagne.

[theeverlastingshade]

Last week Thurston Moore released a new album called By the Fire, and it's another bracing fusion of his populist indie rock and avant-garde impulses colliding into satisfying new shapes. BtF was recorded with bassist Debbie Googe of My Bloody Valentine, guitarist James Sedwards (both of whom have collaborated with Moore on past records) drummer Jem Doulton, and electronics specialist Jon Leidecker (the latter two helped produce songs on Moore's sprawling 2019 LP, Spiritual Counsel) alongside Moore, and the five of them achieve a massive sound that seamlessly navigates noise, post-punk, blues rock, stoner rock, and drone among othes with remarkably strong clarity and chemistry. Highlight and closer "Venus" is a nearly 14 minute droning guitar groove with Moore's voice replaced with an ominous storm of distortion.

Bells, chimes, and synth drones slip into the mix periodically, but Moore keeps the mix primarily engulfed in these thick plumes of guitar distortion, and while the pitch varies the totality of the sound holds steady for.the first nearly 10 minutes before slowly before beginning a lulling, feedback-laced conclusion. Hi-hats slowly emerge and begin to tremble softly against a searing guitar drone that quickly takes on a pensive, piercing tone. Slowly, but surely, everything else in the mix falls out save for the chiming synths that ring with an increasingly faint glow, before ceasing altogether. "Venus" makes for one of the most compelling ambient-leaning songs that Moore has released in years, and while it's somewhat of an outlier on the rippling guitar work and relatively succinct noise that preceded it, it's a thrilling encapsulation of Moore's more outre leanings. BtF is another thoroughly satisfying post-SY Moore record that continues to prove that even after several decades of recording, Moore still has plenty of ideas worth exploring.

[prettyinnoise-blog]

Thurston Moore – By The Fire (Limited Cargo Exklusive Edition) (Red Vinyl) (16.10.2020)

By The Fire ist Thurston Moores siebtes Studioalbum, das auf seinem eigenen Label Daydream Library Series erscheint. Auf dem neuen Album ist der ehemalige Sonic Youth-Gitarrist gemeinsam mit Deb Googe (My Bloody Valentine), Jon Leidecker - aka Wobbly - (Negativland), James Sedwards, Steve Shelley (Sonic Youth) und Hem Doulton zu hören. Read the full article

[recommendedlisten]

Recommended Buzz Activity was how this week started, followed by a bout of anaphylactic shock from hyperactive punks PUP. Recent Recommended Buzzes Retirement Party set forth their plans to get rich by dying to try while Healing Potpourri are fine with life just by wrapping themselves up in a blanket of calm. Shape-shifting was a thing from familiar faces as a reunion from Wicca Phase Springs Eternal’s Adam McIlwee and his former Tigers Jaw ‘mates fell from the sky in dark angel form, former Harlem Shakes guitarist and ARMS frontman Todd Goldstein melded into acronymical ambient form, and CEREMONY’s Ross Farrar introduced us to the concept that SPICE is the pain of life. Top that off with loosies from Brooklyn rapper-on-the-rise Navy Blue and Big Thief.

Here’s the best of the rest from the week of April 26th, 2020…

Arca - “Nonbinary” [XL Recordings]

Inimitable experimental producer Arca has shared a glimpse behind her forthcoming third LP KiCk i. The album -- which is the first in a four-part series and touts Rosalía and Björk as collaborative guests -- marks the beginning of a new chapter for her since coming out as nonbinary in 2018. That, in fact, is the title of the album’s first single as well. In it, Arca goes hard on her multi-dimensional persona. “I don’t give a fuck what you think / You don’t know me / You might owe me / But, bitch, you’ll never know me.” The electricity pulsing through her just veins with just confrontation, and emerges as well in its thrilling futuristic visuals directed by Frederik Heyman.

Dixie Chicks - “Julianna Calm Down” [Columbia Records]

“Julianna Calm Down” is the second single from from Dixie Chick’s upcoming comeback Gaslighter, now delayed to a date TBD due to the coronavirus pandemic. We already heard its fire-fueled, buoyant bluegrass bop and first glimpse into what a Jack Antonoff team-up sounds like in its lead single. “Julianna Calm Down” takes on a steadier approach into bubbling up the Chicks’ country-pop. In a shoutout to Emily Strayer’s daughter and presumably the rest of the band’s family members, the listen is a torch song to young women when the end of a romantic relationship starts to feel like it’s taking something away from you. “Don’t give him the satisfaction that you can’t handle it,” Natalie Maines sings. “Put on your best shoes / And strut the fuck around like you’ve got nothing to lose.”

Empty Country - “Andi” / “10 Year” [Get Better Records]

Former Cymbals Eat Guitar frontman Joseph D’Agostino’s impressive experimental Americana rock reinvention as Empty Country was recently released and recommended over on these pages. He’s released two new tracks recorded from those same sessions in “Andi” and “10 Year”, which both encompass a new 10-track compilation of those songs alongside demos of every track off his eponymous debut. Each listen frequents the desolate narratives of D’Agostino’s current songwriting, with “Andi” being a quiet-spaced synth burner that encapsulates its outsiderness from the perspective of a trans individual while “10 Year” rumbles in hesitation against a reunion and hometown return.

Andi by Empty Country

Andi by Empty Country

India Jordan - “For You” [Local Action]

“Inspired by growing up queer in the North of England, For You documents India understanding and learning about their own identity, and to being kind to themselves in the process (the “You” in the EP’s title is a reference to India),”) reads the Bandcamp description for London-based producer India Jordan’s new EP For You due out on May 20th. The aforementioned “You” in the EP’s title and its titular leadoff single claims a celebratory energy in that self-acceptance, and the music is astutely colored with all the facets that make a person complex, yet oh so gratifyingly much as it snips through a flash of vocal samples and an ecstatic rush of emotionally-charged synthesizing. The whole picture it creates is not just one thing.

For You by India Jordan

Jessy Lanza - “Face” [Hyperdub]

Like her experimental dance contemporary Yaeji, Jessy Lanza creates moving sound that reflect the feelings flowing through us. With “Face”, the latest single from the Canadian producer’s just-announced third full-length effort All the Time, due out July 24th on Hyperbud, Lanza’s expressions in what she creates are derived quite literally. “I was fantasizing about what everyone was thinking based on their expressions,” Lanza said of its songwriting process, spurned by her daily commute. “I found myself projecting my own feelings onto the strangers I was looking at. I went home and wrote the lyrics imagining that the commuters were having telepathic conversations with each other.” In it, she asks, “Baby is it just enough? / Tell me do you want it all? / Baby are you feeling tough? / Feeling tougher more than not?” The synapses are fast, but altogether interconnected. Winston Case directs is apartment rave visuals.

Thurston Moore - “MAY DAZE” [Self-released]

Thurston Moore has releasing a new single as a reminder to any unregistered voters to get out there and sign up, seeing that every one of them will be needed come this election cycle. It’s called “MAY DAZE” and was recorded with his latest band incarnation of the Thurston Moore Group, which features Sonic Youth bandmate and drummer Steve Shelley, My Bloody Valentine’s Deb Goog on bass, and James Sedward on guitar. “You must be on some kind of revolution kick / Modernity is on the line and says you're making them sick,” Moore sings in its opening moments as the listen spindles out its hardwire electrical frame before it ends with a political romanticism. “Glitter everything with change / And i'll break the rules with you.”

MAY DAZE by Thurston Moore

[underattackmusic-blog]

Thurston Moore might not be a kid anymore, but he will always be the quintessential poster child indie rock.

After Sonic Youth’s chaotic demise, the artist has been involved in a wildly diverse variety of musical projects - it’s hard to keep up with the many facets of Moore’s creativity and various outlets.

“The Best Day” (2014) hits closer to home as Moore heads back into more familiar territories.

The release echoes the dissonant, hypnotic melodies and gritty sonic textures of his former band, but it places the entire concept into a completely different context, replacing the urgency of Sonic Youth’s music with a more introspective and somewhat fragile mood.

Moore’s vocals are as direct and raw as ever, locking in with a primal rhythm sections created by former Sonic Youth bandmate Steve Shelley. As a drummer, Shelley has always been known for his ability to bring sophistication to even the most basic beat - his work on this album stands out for its dynamics and breadth.

Bassist Deb Googe (My Bloody Valentine) can be heavy and gritty, but also so gentle you can barely feel she is there. Moore’s recognizable guitar playing seamlessly interacts with that of fellow guitarist James Sedward. The pair managed to create a thick and organic sound. 

“The Best Day” is an impressive album showing Thurston Moore in a comfortable and very self-aware format. He is not concerned with dazzling the crowd with experiments, as much as he is looking to create textural and ethereal songs where melody and noise collide.

[mycatisanalien]

MY CAT IS AN ALIEN contribute to the first book entirely focused on THURSTON MOORE:

“Thurston Moore - We Sing A New Language” by NICK SOULSBY Omnibus Press (UK/ USA) OUT MARCH 13, 2017

From author Nick Soulsby: For “We Sing A New Language: The Oral Discography Of Thurston Moore”, I wanted to use the experiences and perspectives of the people who have played on the numerous records he’s featured on outside of Sonic Youth, to paint a picture of his development and his interests in music across the years. It’s notable how much of his energies, very early on, were on gaining this wider experience while – since the mid-Nineties – there’s a veritable explosion of effort devoted to other scenes which then feeds back into Sonic Youth in the form of the SYR records, releases with Mats Gustafsson, the presence of Borbetomagus on the Murray Street album, their choices of support acts when touring. There’s even a specific character to Moore’s efforts during Sonic Youth’s peak of commercial success in the early-to-mid-Nineties with Moore evangelising and paying tribute to the underground bands who he felt was important – so much of that era is spend on covers and tributes. It’s that kind of pattern that speaking to the people involved was able to tease out.

The book includes a comprehensive Contributors section in which each of the 170 people involved summarises their personal creative urges and expressions – the hope being that it gives the reader a sense of who they’re speaking to and a starting point for further exploration. Frankly, if you enjoy the work of Thurston Moore then there are a lot of people in here worth finding!

In first name alphabetical order:

Aaron Dilloway, Adam Golebiewski, Adam Kriney, Alan Bloor, Alan Licht, Alan Read (Krayon Recordings), Alex Ward, Amanda Kramer, Ambrose Bye (Fast Speaking Music), Andrew Clare, Andrew Kesin, Andrew MacGregor, Andrya Ambro, Andy Moor, Anne Waldman, Anne-James Chaton

Balazs Pandi, Benoit Bel (Mikrokosm Studios), Benoît Bourreau (Film Maker), Bill Nace, Brett Robinson, Brian Kinsman (Deathbomb Arc), Britt Brown, Bryn Harris, Byron Coley, Byron Westbrook

Campbell Kneale, Carlos Giffoni, Carlos van Hijfte (Tour Manager), Chris Corsano, Chris Gollon (artist), Chris Pottinger, Christian Marclay, Colin Langenus, Cory Rayborn (Three Lobed Recordings), Cris Deison, Cristiano Nunes (ZDB Venue)

Dagobert Sondervan, Daniel Sandor (Producer), Dave Keay, David Markey, David Newgarden (Manager to Yoko Ono), David S. Blanco (Blank Editions), Deb Goodge, DJ Spooky, Don Dietrich, Don Fleming. Dylan Nyoukis

Evan Parker, Frank Rosaly, Frans de Waard, Gene Moore, Giancarlo Schiaffini, Glenn Branca, Greg Vegas, Hal Rammel, Hanin Elias, Heath Moerland (Fag Tapes)

J.D. King, Jim Thirlwell, Jack Rabid, James Nares (Artist), James Sedward, James Toth, Jane Scarpantoni, Jean-Marc Montera, Jef Whitehead, Jeff Hartford (Bonescraper Recordings), Jeremy Miller, Jim Dunbar, Jim Sauter, Jim Sclavunos, Joe McPhee, Joe Tunis (Carbon Recordings), Johannes Buff (Mikrokosm), John Clement, John Corbett, John Howard, John Moloney, John Olson, John Russell, John Tye (Lo Recordings), John Wiese, Jon Forss (Lo Recordings), Josh Baer (White Columns), Justin Pizzoferrato (Sonelab)

Karl Hofstetter (Joyful Noise), Keith Wood, Kevin Crump (Wintage), Kim Rancourt, Kommissar Hjuler

Lasse Marhaug, Lea Cummings, Lee Ranaldo, Leslie Keffer, Lin Culbertson, Loren Connors, Lydia Lunch

Mani Mazinani, Manuel Mota, Marc Urselli, Marco Cazzella (My Dance The King), Marco Fusinato, Margarida Garcia, Martin Bisi (Producer), Massimo Pupillo, Mat Rademan (Breathmint), Mats Gustafsson, Matthew Saint-Germain (Freedom From), Maurizio Opalio (My Cat is an Alien), Michael Chapman, Michael Gira, Mike Gangloff, Mykel Board

Nathaniel Howdeshell (Fast Weapons), Neill Jameson, Nels Cline, Nolan Green, Pascal Hector, Patrick Best, Paul Flaherty, Paul Smith (Blast First), Pete Nolan, Phil Blankenship (Troniks), Phil X. Milstein

Rafael Toral, Rat Bastard, Rhys Chatham, Richard Hell, Richard Kern (Film Maker), Rob Hayler, Robert Meijer (En/Of), Robert Poss, Roberto Opalio (My Cat is an Alien), Ron Lessard (RRRecords)

Samara Lubelski, Sanford Parker, Sarah Register, Sérgio Hydalgo (ZDB), Shayna Dulberger, Sonny Vincent, Stavros Giannopoulos, Steve Lowenthal (Vin Du Select Qualitite), Stuart Braithwaite, Susan Stenger

T. Mortigan (Destructive Industries), Terri Kapsalis, The New Blockaders, Thurston Moore, Tim Foljahn, Tom Moore, Tom Smith, Tom Surgal, Toshi Makihara, Trumans Water

Venec Miller, Vice Cooler, Virginia Genta, Wally Shoup, Walter Prati, Warren Defever, Wharton Tiers, William Hooker, William Winant, Yoko Ono

--------

NICK SOULSBY: https://nirvana-legacy.com/

OMNIBUS PRESS: http://www.omnibuspress.com/Product.aspx?ProductId=1127389

[wendellbartonn]

Thurston Moore shares previously unreleased song "May Daze"

Thurston shared a previously unreleased rocker by The Thurston Moore Group, aka Thurston, his former Sonic Youth bandmate Steve Shelley, My Bloody Valentine's Deb Googe, and James Sedwards.

Continue reading…

Thurston Moore shares previously unreleased song "May Daze" published first on https://soundwiz.weebly.com/

[teenagestrangler]

@walkerartcenter @thurstonmoore58 Thurston Moore Ft Steve Shelley Deb Googe James Sedwards Daniel Carter Anne Waldman Nels Cline Brian Gibson Crys Cole Sun Yung Shin 🙏🔮🔭❤️ https://www.instagram.com/p/BqC45xDledA/?utm_source=ig_tumblr_share&igshid=15l0zkpzr9abk

[bushdog]

This Is Not This Heat @ Cafe Oto, London, 10th February 2018 by Fabio Lugaro Via Flickr: Leica M Monochrom - Zeiss C Sonnar T* f/1.5 50mm ZM

[caramelsnowmusic]

Thurston Moore last night at BSP in Kingston NY with a band including Steve Shelley on drums and Debbie Google (from MBV) on Bass. The first “song” was the premiere performance of an hour long instrumental composition featuring Thurston and James Sedwards on matching Fender 12 string guitars, and Deb on a Fender baritone guitar. And yes, they read from music on stands. The encore was in fact a song (Thurston sang) with Thurston and Sedwards on matching Fender Jazzmasters. Deb switched to a Hofner (McCartney style) bass for this one. I admire and respect Thurston for everything he’s done but, being a fanatic MBV fan, it was almost a religious experience to be only a few feet away from Debbie Googe, I have to be honest about that! (I should also mention that I wore earplugs and over 24 hours later my right ear is still a little fuzzy/ distorted in the mid to low range, just be forewarned if you’re going to see this current tour!) #thurstonmoore #steveshelley #bspkingston #debbiegooge #sonicyouth (at BSP Kingston) https://www.instagram.com/p/Bpvo3QQgrSO/?utm_source=ig_tumblr_share&igshid=omyezvow27l7

[allbrooklynveganposts]

These shows will have Thurston presenting ”new extended instrumental compositions focusing on the 12-string electric guitar focusing on noise, beauty, action, fire and love.”

Continue reading…

[blankeditions]

I Hear Moore - Thurston Moore Songs - The Blank Tapes 25

Special 'Private Press' cassette tape featuring Beck, Cat Power, Le Volume Courbe, Ashley Paul and an unnamed neighbourhood band (populated by Thurtson's bandmates and local friends) covering Thurston Moore & Sonic Youth songs as a gift for his 60th birthday!

We, along with our neighbours, collaborators and dear friends Ecstatic Peace Library surprised Thurston on his 60th birthday (25th of July 2018) by not only arranging a surprise gathering in our neighbourhood of N16 but by presenting him with this special and highly limited cassette tape featuring unique cover versions of Thurston's solo and Sonic Youth songs.

There will be a small undisclosed number of copies available to the public which can be purchased direct from us.

------------------------------------------------

1. Green Light - Beck Originally recorded by Sonic Youth for the album, Evol.

2. Psychic Hearts - Cat Power Originally recorded by Thurston Moore for the album, Psychic Hearts.

3. Benediction - Le Volume Courbe Originally recorded by Thurston Moore for the album, Demolished Thoughts.

4. Illuminine - Ashley Paul Originally recorded by Thurston Moore for the album, Demolished Thoughts.

5. Silver > Blue Originally recorded by Thurston Moore for the album, Trees Outside The Academy.

Jem Doulton - Drums Deb Goodge - Bass James Sedwards - Guitar Eva Prinz and Laura Groves - Vocals

------------------------------------------------

Format: Cassette Tape Length: 35 Mins / 5 Tracks

------------------------------------------------

Cassette package includes

- 3 panel double sided j - card - Pro-dubbed cassettes - Download code

ps - The download code will contain 3 songs of the 5 that are on the actual cassette tape. The Beck and Cat Power tracks were unavailable for digital due to licence restrictions. ------------------------------------------------

[prettyinnoise-blog]

Thurston Moore – By the Fire (Transparent Orange 2LP) (25.09.2020)

Double LP version. Transparent orange vinyl. This is Thurston Moore's seventh solo album, and features musicians Deb Googe (My Bloody Valentine) on bass and backing vocals, Jon Leidecker aka "Wobbly" (of Negativland) on electronics, James Sedwards on guitar, and Sonic Youth's Steve Shelley, as well as Jem Doulton, alternating on drums. Read the full article