Jun 01, 2006 Rather Ripped may not have the cultural impact of 1989's Daydream Nation, but it contains some of the best music of their career. An extraordinary state of affairs in Sonic Youth. Sonic youth rather ripped, sonic youth rather ripped review, sonic youth rather ripped full album, sonic. Also, if you prefer house from the '90s and early '00s, check out my Classic Mix Archive podcast. Saracon of Saracon in file Rar 61.
![]() Sonic Youth – Rather Ripped (2006/2016)
Rather Ripped contains some of Sonic Youth’s most poppy and accessible songs, co-produced by John Agnello working with the band for the first time. The 2006 release marked the end of Sonic Youth’s nine-album run on Geffen Records as well as the departure of guitarist and producer Jim O’Rourke, who joined the group in 1999.
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. –AllMusic Review by Heather Phares
Tracklist:
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
Personnel:
Thurston Moore – vocals, guitar Kim Gordon – vocals, bass Lee Ranaldo – guitar, vocals Steve Shelley – drums
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(Redirected from The Destroyed Room: B-sides and Rarities)
The Destroyed Room: B-sides and Rarities is a compilation album by Sonic Youth. This album contains tracks previously only available on vinyl, limited-release compilations, imports and B-sides to international singles. The tracks, which also include unreleased material, were hand-picked by the band. The album was released on December 12, 2006. A double vinyl LP edition with two extra tracks was released in early 2007 on the band's own Goofin' Records label. The cover image, as well as the album's name, is 'The Destroyed Room', a 1978 photograph by Canadian artist Jeff Wall.
Reception[edit]
The album has a score of 65 out of 100 from Metacritic based on 'generally favorable reviews'.[1]Filter gave the album a score of 91% and called it 'an impeccably selected hodgepodge.'[10]NME gave it a score of 7 out of 10 and stated: 'You hear a band capable of genuine prettiness as well as arch cleverness.'[1] However, other reviews are average, mixed or negative: The Austin Chronicle gave the album 3 of 5 stars and called it, 'a sonically interesting mess but proof that not everything [Sonic Youth] record should be released.'[11]Under the Radar gave it 6 stars out of 10 and said it was 'often more exciting, edgy and experimental than [the band's] previous work.'[1]Playlouder gave it 3 stars out of 5 and stated that 'some of this record is excellent and after all this time [Sonic Youth] can still sound like four teenagers kicking up a racket in a rehearsal room.'[1]Uncut likewise gave it 3 stars and called it 'a nicely ambient version of their usual hellacious harmonics, but also a reminder how the band have attained creative control on a major label.'[1]Now also gave it 3 stars and said it was 'more for the dedicated convert than the curious.'[1][12]Hartford Courant gave it an average review, and said of the songs, 'Even when they're abrasive, though, the songs are fascinating for what they show about the band's creative process.'[13]Drowned in Sound gave it a score of 5 out of 10, and said, 'The majority of this record meanders along like a fuel-starved express train whose driver has taken an extended lunchbreak; experimental noise follows more experimental noise.'[14]Billboard gave the album a mixed review, saying it was, 'overall, worth a spin or two, but one hopes there's a better stash left to sample.'[1]Yahoo! Music UK gave the album 3 of 10 stars, and called it 'an aimless blur of humming amps, pointless mucking about with effects, dreary jams propelled by meandering guitar interplay, and bleak, endless droning.'[15]
Track listing[edit]
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Track information[edit]
![]() References[edit]
Retrieved from 'https://en.wikipedia.org/w/index.php?title=The_Destroyed_Room:_B-Sides_and_Rarities&oldid=918394304'
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