http://www.pitchforkmedia.com/page/n...tthew-solarski
On paper this pairing makes sense; both NYC innovators, Steve Reich and Thurston Moore have also each earned a reputation as an everyman figures of sorts, refreshing contrasts to the negative stereotypes that plague their fields. Reich as a no-nonsense, pragmatic journeyman unafraid to stare down the serialists and Schoenberg acolytes and their dominion over academic composition, and Moore as the perennial man-child, curious spirit, and constant innovator amid an indie scene that's too often insular, stubborn, and self-satisfied.
On a stage in a windowless room on a Thursday afternoon, things were, understandably, perhaps a bit stiff. Moore resorted to book-reportage at times (prattling off various facts about Reich from his little black notebook), and there were moments when he seemingly forgot who he was talking to. One such exchange, during a discussion of language, had Moore offhandedly mentioning "Italian prog-rock in the 70s, you know?" and Reich making an amused befuddled gesture toward the audience.
But as Moore loosened up some (Reich, meanwhile, was plainspoken and good-humored throughout), we learned much. There was talk of Reich's inspirations: the poet William Carlos Williams, the great John Coltrane, the jazz drummer Kenny Clarke. Clarke, enthused Reich, inspired the composer not with technical virtuosity but with the "quality" of his playing. "It was as if the whole band was floating on his cymbal."
Reich also marveled over African music and its emphasis on rhythmic complexity, in contrast to the chiefly harmonic concerns of the West, and opined that improvisational playing may not have the meaningful potential it once did (in the Baroque era, say) due to a lack of common practice nowadays.
Plenty of fun trivia too: Four of the organs Reich used to compose and tour the 1970 piece
Four Organs now reside in Sonic Youth's studio; Reich rejiggered his mono headphones into stereo headphones before such things existed by plugging each channel into a separate source (Thurston seemed particularly geeked out about this); Reich likes Sonic Youth and specifically
Daydream Nation for towing a line between the feedback's improvisational looseness and the structured elements of conventional songwriting.
The most endeariOn paper this pairing makes sense; both NYC innovators, Steve Reich and Thurston Moore have also each earned a reputation as an everyman figures of sorts, refreshing contrasts to the negative stereotypes that plague their fields. Reich as a no-nonsense, pragmatic journeyman unafraid to stare down the serialists and Schoenberg acolytes and their dominion over academic composition, and Moore as the perennial man-child, curious spirit, and constant innovator amid an indie scene that's too often insular, stubborn, and self-satisfied.
On a stage in a windowless room on a Thursday afternoon, things were, understandably, perhaps a bit stiff. Moore resorted to book-reportage at times (prattling off various facts about Reich from his little black notebook), and there were moments when he seemingly forgot who he was talking to. One such exchange, during a discussion of language, had Moore offhandedly mentioning "Italian prog-rock in the 70s, you know?" and Reich making an amused befuddled gesture toward the audience.
But as Moore loosened up some (Reich, meanwhile, was plainspoken and good-humored throughout), we learned much. There was talk of Reich's inspirations: the poet William Carlos Williams, the great John Coltrane, the jazz drummer Kenny Clarke. Clarke, enthused Reich, inspired the composer not with technical virtuosity but with the "quality" of his playing. "It was as if the whole band was floating on his cymbal."
Reich also marveled over African music and its emphasis on rhythmic complexity, in contrast to the chiefly harmonic concerns of the West, and opined that improvisational playing may not have the meaningful potential it once did (in the Baroque era, say) due to a lack of common practice nowadays.
Plenty of fun trivia too: Four of the organs Reich used to compose and tour the 1970 piece
Four Organs now reside in Sonic Youth's studio; Reich rejiggered his mono headphones into stereo headphones before such things existed by plugging each channel into a separate source (Thurston seemed particularly geeked out about this); Reich likes Sonic Youth and specifically
Daydream Nation for towing a line between the feedback's improvisational looseness and the structured elements of conventional songwriting.
The most endearing moment by far, however, occurred an hour into the interview when Moore decided to open the floor for Q&A, then promptly interrupted himself by saying "Oh wait, actually I had a question!"
ng moment by far, however, occurred an hour into the interview when Moore decided to open the floor for Q&A, then promptly interrupted himself by saying "Oh wait, actually I had a question!"