The entire 2002 record moves between alternative rock, progressive experimentation, and hard rock – listenable but not memorable. Murray Street’s opening track is basic alternative rock until it turns into strange experimentation of screeches, I am not able to listen to. Tracks like Poison Arrow or Antenna are easy to listen to but not memorable. As for the other tracks on the record, they have been a more endurable challenge to listen to than very early LPs, but are overshadowed by other bands who move in the alternative and indie rock circles today – which is apparently the audience that the Sonic Youth is attempting to penetrate now. But it fails to stick the landing and, instead, sounds like forced attempt to be punchy and provocative. And so, it is on tracks like Ani-Orgasm, which desperately tries to hang on to the hard-core punk vibes the band resonated earlier without effort. But as it often happens when a band, with a certain reputation, ages and gets further away from the youthful success of the earlier days, trying to keep up with the past can sound torturous. Here, the noisy cacophony has faded into the background a little, making the album more approachable. So, when the time came, I gave the latest Sonic Youth record, The Eternal, a spin. It is kind of like looking at a piece of modern art trying hard to grasp the meaning of it, but somehow a bunch of screwdrivers arranged to a triangle do not make a lot of sense and are not particularly interesting (I’m referring to a real-life experience here).Īfter failing to get into the band’s earlier no-wave records, which to me sound more like a random recording of noises coming out of instruments the way they never should, I decided to approach things a little differently. The albums sound like they were recorded in an outburst manner of experimentation and maybe require a special state of mind to be listened to. However, the percussive influences of Richard Edson on the debut and the funky bassline kicking off The Good and The Bad, are more engaging but quickly disappear into sonic chaos. With primitive and random instrumentation, the albums sound like they were recorded in a kind of drug-induced haze – and maybe need exactly that to be an enjoyable listening experience. The minimal tonal range and repetitiveness throughout the band’s self-titled recording and the studio album Confusion is Sex, are not up my alley. Despite the nasal swabbing, mask wearing and obsessive hand washing, the whole endeavor has given us a much-needed sense of normalcy.Okay, the early no-wave stuff reminds me of the time when I was preparing for my SWANS interview. It has been a logistical challenge pulling this off while carefully observing restrictions and protocols. We wanted to play a proper show with our band - the one we had spent so much time preparing in January. We wanted to do more than an acoustic set from home.
“Once live music was effectively canceled, Patrick and I started working on a way to make it up to ourselves, our band, and to you. “This announcement has been a long time coming,” says Moore. Tickets for “live: in the void” are on sale now via. Meanwhile, “live: in the void” will feature direction by Tennis’ longtime visual collaborator Luca Venter, and find the duo joined on stage by their band for the first time since quarantine began. This song is really just me carrying a torch for her.” I feel a strong pull toward women whose creative contributions were cut short by their untimely deaths - Laura Nyro, Judee Sill, Trish Keenan, and of course Karen Carpenter. The result is something that doesn’t really sound like Tennis or the Carpenters, which we really liked. This led us to take a lot of liberties, including writing a bridge that doesn’t exist in the original. Our goal with ‘Superstar’ was to re-cast her voice in the context of a different band in a different era. “Her voice is so distinctive, I can always imagine her interpretation of a song regardless of genre. “Karen Carpenter is a major influence on my writing,” says Moore. It follows this past February’s remarkable fifth studio album Swimmer, and sets a tone for Tennis’ “live: in the void” livestream performance this Saturday (October 17). Tennis’ “Superstar” takes its cue from The Carpenters’ version, much like the beloved Sonic Youth cover from ’94, and was produced by the duo’s Patrick Riley and Alaina Moore in their hometown of Denver.
So when we came across Tennis‘ new interpretation of Delaney & Bonnie’s classic single “Superstar,” made famous by The Carpenters in the early-’70s, it seemed like a perfect match. Some covers are more obvious than others, and some just feel like destiny.
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