Sonic Youth Gossip - View Single Post - Lee Ranaldo interview to Spex Magazin, November 07

█████████ · 12.12.2007, 05:39 PM

We heard and we were astonished
Text: Max DAX, January Kedves photo: Olive Schultz Berndt

To reproduce to try or at least this straight seemed to develop the classical author status of the own list of goods live to the trend: Lou Reed tourte with a unity unity conversion of its "Berlin" album, and Sonic Youth played at the end of of June in Berlin its ritually admired 88er-Album "Daydream nation". The album in an Deluxe edition, as historical-critical expenditure for work appeared parallel as it were. That they became once one sometime their LPs sequels, from beginning to end through, Sonic Youth could not something such be dreamed probably, as them itself 1981 in New York – the city, those owing to NO Wave straight at that time times again the scene of a music revolution – had become; based. Probably they would have found the conception even boring. But the time passes now times. After the sound check in the Columbiahalle, while Kim Gordon can be still explained, as she finds fastest after center to the Fred Perry Shop, takes to guitarist Lee Ranaldo, 51, behind the stage place on a leather sofa. The topic of the evening fitting, consists "play" for it of classical authors of the Blues, skirt and Pop.

Arto Lindsay
"Noon Chill" (Rykodisc, 1997)

Lee Ranaldo: Is the Arto Lindsay? Wow!

The piece is called "Noon Chill".
It surprises me today still to hear Arto sing with this gentle voice. Its singing is marvelous. At that time, when he played still with DNA, it did not show of it nothing at all. With DNA it concerned somewhat completely different one than to sing beautiful.

Were you a fan of DNA?
DNA were at that time in New York one the most important volume for me! I looked at myself its concerts again and again. They were three outsiders, and they made the absolutely most amazing contemporary music. For humans outside of new Yorks the Protagonisten of the NO-Wave-scene remained at that time absolute Weirdos – particularly, after Brian Enos "NO new York" Sampler had appeared, on its Cover it all looked actual, as if they had run away straight from the lunatic asylum. But was artistically most exciting like NO-Wave-volume the end of the seventies this ikonische thing named Rock'n'Roll, which had become uninteresting the time in the reason already long, again took up and by reason on new thought, that. Their music remains today unsurpassed for me until. Arto Lindsays guitar play was anyhow fantastisch at that time. Into the entire time, which he played with DNA, it did not even reach on the federation! It struck simply only on its openly tuned 12-Saiten-Gitarre a – how no guitarist before it!

After DNA Arto Lindsay wanted to plumb new facets of its singing. On "Noon Chill" it sounds nearly like Chet Baker...
Marvelously. That is a considerable development, which he went through there – of krachigstem New Yorker Noise to this avant-garde, Brazilian affected Pop, which he published in the Neunzigern on several solo albums. Amazingly!

The skin
"Intoxication" (feat. Kim Gordon)
(What's so Funny About, 1992)

Ranaldo: That is Kim! The old Westberlin Connection represents the skin naturally for us, to which also volume as nod Cave and The bath Seeds or the collapsing new buildings count. These citizens of Berlin of volume were important influences for us.

Do you remember your first time in west Berlin?
Naturally. 1980 I came for the first time into the city, together with Glenn Branca. I remember waiting for hours at the border installations to the Eastern Bloc, the chicaneries, the awake towers and uniforms. The new buildings played in the evening as our Vorband. At that time I learned Blixa cash to know, and I know still: Mufti had this gigantic steel impact things with all possible metal scrap, which he had fastened on basin stands. I was heavily impressed.

At that time scene a little saw itself the westberliner like an outguard Manhattans...
One can surely speak of a relationship of both cities, in the sense that they at that time represented – in certain way islands; isolated places, at which one had the feeling, to be understood, and where people lived, which worked on something similar as one also. Us it seemed actually differently: The music, which we heard from Berlin, worked so perfectly again and already in the latter out-formulated. We heard and we were astonished.

Christoph turner, the founder of the skin, later turned a film over Sonic Youth
Yes, "Silver Rockets/Cool Things". The film was good. For us it was to be seen interesting that someone, which we know as musicians learned and whom we had then lost sight of a time long, suddenly again as a film producer emerged. Many the Protagonisten of the NO-Wave-scene for their part originally came from the art – Arto Lindsay came painting studied by the theatre, I, Kim studied likewise art. Patti Smith, television, The Clash and all these other musicians made us clear at that time however with their fresh energy that skirt has exactly the same its authorization as art form like the forming arts.

Vincent Gallo
"so Sad" (Warp, 2001)

Why grinst does you in such a way?
Oh, Vincent is already a bizarre figure. He is a really nice chap, and smartly is he also, but on the other hand he is a total complete idiot. I mean, he am republican! That is something that for all of us is inconceivable! Humans of full contradictions.

You know it already for a long time?
I do not know it really well, but a time long he has – times with us hung around in New York; I believe, because he ago was behind a woman, who was friendly with Thurston and Kim. However, as musicians I find him to cool. It began already very early to make music it was at that time also member in Jean Michel Basquiats volume Gray. And the plates, which he brought out then later on Warp, pleased me. "so Sad" has an incomprehensibly seizing zartheit, and its singing reminds again of Chet Baker. That is already extreme astonishing. ", Vincents first film, I found Buffalo 66" by the way wonderful.

And how did you find "Brown Bunny"?
Also well, also a few reductions however. I estimate, with this film he little a much had planned.

Did you see the four and one-half-hour version?
No. But the version, which I had seen, was two and a half hours long – which also enough was. Around the idea rueberzubringen, mean I.

Nut/mother
"the recent time" (the own society, 1996)

Ranaldo: What is that?

Those are nut/mother. They came out from the citizens of Berlin volume Campingsex.
Ah, Campingsex! I remember. Campingsex made a lasting impression at that time on me. Thurston of moorlands and I found them very well, above all the album "1914". The fact that they continued as a nut/mother was not at all conscious to me. The singer is greatly – Max Mueller.

You seem to be been versed with German music well...
That is connected naturally with it that we were interested from the outset in Underground music, those even, where she comes, nearly unknown is. Before we began, were to routes we very much fixed on New York, we received thus from what happened otherwise in the world, much. As soon as we went on route, we discovered however everywhere, where we came, people, which made very interesting things in the Underground. People, which were our convicition comrades as it were, before we knew from them.

Went to it on route thus also always much into disk shops?
The first ten years we made nothing different one on route practically. We up-sucked in plate and book shops everything, which us seemed interesting. In addition we met naturally everywhere, where we came, humans, who showed us interesting. So is that, if one somewhere is to guest: The people want that one tries its wine and sounds themselves their music. So, as I hear nut/mother now with you.

Bob Dylan
"gate OF Eden" (boat-put, 2000)

Ranaldo: Ah, Dylan! I admire it for the fact that he publishes still relevant works at his age.

With this admission of a concert in Cologne it after two minutes its guitar gets broken. What does one make as a guitarist in such a situation?
One does, what one can do. One improvises in the situation. I think, for Dylan meant it in this moment simply, still more to sing. Because it had to master the situation improvising. Its singing listens to one! It sings rarely played "gates the OF Eden" incomprehensibly good.

You called Dylan in an interview once "radical adult".
We have also a Song, carry the title "Radical Adult". In it it goes around it that one assumed that a time long, only young people between 18 and 25 could radical subcultures create, although there are also many older ones, which are radical, by not being able to pursue steadfastly their vision and be brought from critic or public expectations from the concept. Yoko Ono is so someone, and Dylan natural. At the time, when he did not bring so good albums out into the Achtzigern, I thought that I would have to actually produce an album for him. But the fate did not want that our ways crossed. For the moment I work however on the sound TRACK to the film, which Todd Haynes over Bob Dylans life turned. I produced some Songs for this film, with Gastvocals of Tom Verlaine, Stephen Malkmus and Karen O of the Yeah Yeah Yeahs.

12.12.2007, 05:39 PM	#4
█████████ expwy. to yr skull Join Date: Nov 2007 Posts: 1,736	We heard and we were astonished Text: Max DAX, January Kedves photo: Olive Schultz Berndt To reproduce to try or at least this straight seemed to develop the classical author status of the own list of goods live to the trend: Lou Reed tourte with a unity unity conversion of its "Berlin" album, and Sonic Youth played at the end of of June in Berlin its ritually admired 88er-Album "Daydream nation". The album in an Deluxe edition, as historical-critical expenditure for work appeared parallel as it were. That they became once one sometime their LPs sequels, from beginning to end through, Sonic Youth could not something such be dreamed probably, as them itself 1981 in New York – the city, those owing to NO Wave straight at that time times again the scene of a music revolution – had become; based. Probably they would have found the conception even boring. But the time passes now times. After the sound check in the Columbiahalle, while Kim Gordon can be still explained, as she finds fastest after center to the Fred Perry Shop, takes to guitarist Lee Ranaldo, 51, behind the stage place on a leather sofa. The topic of the evening fitting, consists "play" for it of classical authors of the Blues, skirt and Pop. Arto Lindsay "Noon Chill" (Rykodisc, 1997) Lee Ranaldo: Is the Arto Lindsay? Wow! The piece is called "Noon Chill". It surprises me today still to hear Arto sing with this gentle voice. Its singing is marvelous. At that time, when he played still with DNA, it did not show of it nothing at all. With DNA it concerned somewhat completely different one than to sing beautiful. Were you a fan of DNA? DNA were at that time in New York one the most important volume for me! I looked at myself its concerts again and again. They were three outsiders, and they made the absolutely most amazing contemporary music. For humans outside of new Yorks the Protagonisten of the NO-Wave-scene remained at that time absolute Weirdos – particularly, after Brian Enos "NO new York" Sampler had appeared, on its Cover it all looked actual, as if they had run away straight from the lunatic asylum. But was artistically most exciting like NO-Wave-volume the end of the seventies this ikonische thing named Rock'n'Roll, which had become uninteresting the time in the reason already long, again took up and by reason on new thought, that. Their music remains today unsurpassed for me until. Arto Lindsays guitar play was anyhow fantastisch at that time. Into the entire time, which he played with DNA, it did not even reach on the federation! It struck simply only on its openly tuned 12-Saiten-Gitarre a – how no guitarist before it! After DNA Arto Lindsay wanted to plumb new facets of its singing. On "Noon Chill" it sounds nearly like Chet Baker... Marvelously. That is a considerable development, which he went through there – of krachigstem New Yorker Noise to this avant-garde, Brazilian affected Pop, which he published in the Neunzigern on several solo albums. Amazingly! The skin "Intoxication" (feat. Kim Gordon) (What's so Funny About, 1992) Ranaldo: That is Kim! The old Westberlin Connection represents the skin naturally for us, to which also volume as nod Cave and The bath Seeds or the collapsing new buildings count. These citizens of Berlin of volume were important influences for us. Do you remember your first time in west Berlin? Naturally. 1980 I came for the first time into the city, together with Glenn Branca. I remember waiting for hours at the border installations to the Eastern Bloc, the chicaneries, the awake towers and uniforms. The new buildings played in the evening as our Vorband. At that time I learned Blixa cash to know, and I know still: Mufti had this gigantic steel impact things with all possible metal scrap, which he had fastened on basin stands. I was heavily impressed. At that time scene a little saw itself the westberliner like an outguard Manhattans... One can surely speak of a relationship of both cities, in the sense that they at that time represented – in certain way islands; isolated places, at which one had the feeling, to be understood, and where people lived, which worked on something similar as one also. Us it seemed actually differently: The music, which we heard from Berlin, worked so perfectly again and already in the latter out-formulated. We heard and we were astonished. Christoph turner, the founder of the skin, later turned a film over Sonic Youth Yes, "Silver Rockets/Cool Things". The film was good. For us it was to be seen interesting that someone, which we know as musicians learned and whom we had then lost sight of a time long, suddenly again as a film producer emerged. Many the Protagonisten of the NO-Wave-scene for their part originally came from the art – Arto Lindsay came painting studied by the theatre, I, Kim studied likewise art. Patti Smith, television, The Clash and all these other musicians made us clear at that time however with their fresh energy that skirt has exactly the same its authorization as art form like the forming arts. Vincent Gallo "so Sad" (Warp, 2001) Why grinst does you in such a way? Oh, Vincent is already a bizarre figure. He is a really nice chap, and smartly is he also, but on the other hand he is a total complete idiot. I mean, he am republican! That is something that for all of us is inconceivable! Humans of full contradictions. You know it already for a long time? I do not know it really well, but a time long he has – times with us hung around in New York; I believe, because he ago was behind a woman, who was friendly with Thurston and Kim. However, as musicians I find him to cool. It began already very early to make music it was at that time also member in Jean Michel Basquiats volume Gray. And the plates, which he brought out then later on Warp, pleased me. "so Sad" has an incomprehensibly seizing zartheit, and its singing reminds again of Chet Baker. That is already extreme astonishing. ", Vincents first film, I found Buffalo 66" by the way wonderful. And how did you find "Brown Bunny"? Also well, also a few reductions however. I estimate, with this film he little a much had planned. Did you see the four and one-half-hour version? No. But the version, which I had seen, was two and a half hours long – which also enough was. Around the idea rueberzubringen, mean I. Nut/mother "the recent time" (the own society, 1996) Ranaldo: What is that? Those are nut/mother. They came out from the citizens of Berlin volume Campingsex. Ah, Campingsex! I remember. Campingsex made a lasting impression at that time on me. Thurston of moorlands and I found them very well, above all the album "1914". The fact that they continued as a nut/mother was not at all conscious to me. The singer is greatly – Max Mueller. You seem to be been versed with German music well... That is connected naturally with it that we were interested from the outset in Underground music, those even, where she comes, nearly unknown is. Before we began, were to routes we very much fixed on New York, we received thus from what happened otherwise in the world, much. As soon as we went on route, we discovered however everywhere, where we came, people, which made very interesting things in the Underground. People, which were our convicition comrades as it were, before we knew from them. Went to it on route thus also always much into disk shops? The first ten years we made nothing different one on route practically. We up-sucked in plate and book shops everything, which us seemed interesting. In addition we met naturally everywhere, where we came, humans, who showed us interesting. So is that, if one somewhere is to guest: The people want that one tries its wine and sounds themselves their music. So, as I hear nut/mother now with you. Bob Dylan "gate OF Eden" (boat-put, 2000) Ranaldo: Ah, Dylan! I admire it for the fact that he publishes still relevant works at his age. With this admission of a concert in Cologne it after two minutes its guitar gets broken. What does one make as a guitarist in such a situation? One does, what one can do. One improvises in the situation. I think, for Dylan meant it in this moment simply, still more to sing. Because it had to master the situation improvising. Its singing listens to one! It sings rarely played "gates the OF Eden" incomprehensibly good. You called Dylan in an interview once "radical adult". We have also a Song, carry the title "Radical Adult". In it it goes around it that one assumed that a time long, only young people between 18 and 25 could radical subcultures create, although there are also many older ones, which are radical, by not being able to pursue steadfastly their vision and be brought from critic or public expectations from the concept. Yoko Ono is so someone, and Dylan natural. At the time, when he did not bring so good albums out into the Achtzigern, I thought that I would have to actually produce an album for him. But the fate did not want that our ways crossed. For the moment I work however on the sound TRACK to the film, which Todd Haynes over Bob Dylans life turned. I produced some Songs for this film, with Gastvocals of Tom Verlaine, Stephen Malkmus and Karen O of the Yeah Yeah Yeahs.
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