Spring Break
'Trees' proves lackluster for longtime fans expecting a more powerful sound
by Dan Orkin
Music | 9/18/07
Posted online at 1:58 AM EST on 9/18/07
In a recent interview with Pitchfork Media, that online compendium of all things indie, Sonic Youth frontman and veritable rock institution Thurston Moore said: "Usually what I compose on my own I'll bring into Sonic Youth and we'll turn it into a Sonic Youth song...I also always have this desire to not do something with such a democratic concern, where I just call the shots." This desire for creative independence manifests itself in Trees Outside the Academy, Moore's second proper solo album, to be released this week, following 1995's Physic Heart.
Where Physic Heart deviated only slightly from the distinct noise-driven rock of Sonic Youth, Trees exhibits Moore drifting further from his definitive feedback and cutting dissonance into a new territory of melancholy acoustic guitar, somber harmonies and an ever-pervasive abundance of violin. The vast majority of the album is built around rhythmic acoustic riffs and slow melodies, as though Moore is channeling Elliott Smith rather than his usual mixture of Glenn Branca and the gods of proto-punk.
Unfortunately, this new direction for Moore is not the best medium for his song-writing sensibilities. The arrangements are so consistent that it often grows difficult to differentiate between songs. When Moore brings his basic compositions to the collaborative machine of Sonic Youth, the output is usually so rich with innovative sound art and their signature guitar techniques that even the most basic of songs can be elevated to greatness. Here the derivative formula of acoustic guitar, harmonic violin and sluggish vocal melody makes this album come off less like the fresh, original project it hopes to be and more like a collection of rejected demos for a Sonic Youth project.
On several tracks the noise of Thurston's past finds its way out. The overly long composition for rickety piano, "American Coffin" and the aptly named "Free Noise Among Friends" are telling examples. The closing track, "Thurston@13," features what's apparently an ostinato of Thurston recording various noises at the age of 13. While all of these tracks are sufficiently bizarre, without the context of a worthy backing album, they do more to highlight the overall mediocrity of Trees rather than add anything of real substance.
Where Physic Heart deviated only slightly from the distinct noise-driven rock of Sonic Youth, Trees exhibits Moore drifting further from his definitive feedback and cutting dissonance into a new territory of melancholy acoustic guitar, somber harmonies and an ever-pervasive abundance of violin. The vast majority of the album is built around rhythmic acoustic riffs and slow melodies, as though Moore is channeling Elliott Smith rather than his usual mixture of Glenn Branca and the gods of proto-punk.
Unfortunately, this new direction for Moore is not the best medium for his song-writing sensibilities. The arrangements are so consistent that it often grows difficult to differentiate between songs. When Moore brings his basic compositions to the collaborative machine of Sonic Youth, the output is usually so rich with innovative sound art and their signature guitar techniques that even the most basic of songs can be elevated to greatness. Here the derivative formula of acoustic guitar, harmonic violin and sluggish vocal melody makes this album come off less like the fresh, original project it hopes to be and more like a collection of rejected demos for a Sonic Youth project.
On several tracks the noise of Thurston's past finds its way out. The overly long composition for rickety piano, "American Coffin" and the aptly named "Free Noise Among Friends" are telling examples. The closing track, "Thurston@13," features what's apparently an ostinato of Thurston recording various noises at the age of 13. While all of these tracks are sufficiently bizarre, without the context of a worthy backing album, they do more to highlight the overall mediocrity of Trees rather than add anything of real substance.
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