Carrie Brownstein: Entrevista a Thurston Moore


Carrie Brownstein quien es una escritora que además de escribir una columna en el New York Times, The Believer y participar también en Pitchfork, es parte de el grupo de rock (maravilloso) Sleater-Kinney;  publicó en su blog una entrevista que le hizo a Thurston Moore quien resulta que es perfecto, o esa clase de hombre que en lo personal aspiro de algún modo llega a ser un día pues además de ser el líder de la banda neoyorkina  Sonic Youth, y ser escritor de poemas,  tener  su propio sello discográfico (Ecstatic Peace Records), haber  hecho innumerables colaboraciones con muchos músicos y ser padre de familia;  recientemente inauguró su propia librería Ecstatic Peace Library)  en donde además de publicar lo que él ha escrito también estarán a la venta los trabajos de algunos artistas independientes incluyendo a sus compañeros de banda Lee Ranaldo y Kim Gordon (su distinguida esposa).

Y a quien Brownstein define puntuálmente como: “Ardent supporter of bold weirdos and fiery rockers” .

La entrevista es una joya y así que aquí se las dejo:

CARRIE BROWNSTEIN: Does the end of this decade feel important, or like nothing at all? If it does feel different, how does it feel different than the culmination of other decades?

THURSTON MOORE: I don’t even think of the 2000s or whatever it’s called as a specific decade, really. The decades of the last century each had such significant cultural developments, I feel like there’s some kind of worldwide exhaustion to event-charged identity. But regardless of that, I do feel like this past decade was really the birth of Internet culture, as lousy as that sounds. Everything everyone does in communication, music, art, literature and activism is part and parcel to the Internet. That’s undeniably big. I think the overall sense is that it is still nascent, and that the forthcoming decades are going to look at this time as “quaint.”

CARRIE BROWNSTEIN: What was there before YouTube?

THURSTON MOORE: What was there before eBay? The effect these instant-gratification systems have on our daily life as consumptive animals is one where the hunter stays home and gets fat so the punk-rock hordes can roll him/her over and make way for killer rock ‘n’ roll.

CARRIE BROWNSTEIN: How can we reconcile our nostalgic yearnings with new technologies, when in some ways they replace what we used to know and how we used to experience music?

THURSTON MOORE: I don’t think they so much replace as reconfigure. Nothing can replace the aesthetic heft of an LP, or the sensual comfort of analog grooves being so charged by the physical friction of a diamond stylus.

CARRIE BROWNSTEIN: What is your favorite means, method or context for listening to recorded music?

THURSTON MOORE: Sometimes I like it live and I like it fast, and sometimes I like it mixed and I like it weird.

CARRIE BROWNSTEIN: What’s the last band or artist you discovered while shopping for records?

THURSTON MOORE: The last couple of years, I’ve been delving into the sub-world of international black-metal records, and every once in a while will hit on something so genuinely bizarro, without any purposeful notion to be as such, that I want to run away and change my name and reappear as a demon noise lover.

CARRIE BROWNSTEIN: What’s the last band or artist you discovered from listening to an MP3?

THURSTON MOORE: Someone just sent me MP3s of this Australian band Sherlock’s Daughter, which was pretty sweet.

CARRIE BROWNSTEIN: In a time when one can easily manipulate an album’s sequence, or bypass the purchase of an album and buy only one or two songs, how does that affect the process of making and sequencing an album? Why is it still important for musicians to put out albums and make artwork for that album? Or is it not important?

THURSTON MOORE: I want to make an album that can be looked at as either an audio experience, be it CD or vinyl (or both) incorporated into a book, which would also include a film presentation (DVD) — and make it beautiful as an object. I like feeling and smelling and looking at records and books as much as, if not more than, actually hearing/seeing/reading them.

CARRIE BROWNSTEIN: You have always been someone who has approached music and art from multiple perspectives and via various media. Lately, it seems like many musicians are in multiple bands. In this day and age, is there less of a need or a viability in having one singular project? Or, have musicians always cross-pollinated and we just have more access to them now? How have your other projects helped with the longevity and creative output of Sonic Youth?

THURSTON MOORE: SY is a democratic band in the sense that no one is going to control any bit of songwriting regardless of how complete it is when brought to rehearsal. We all figured that by having Sonic youth as a forum specifically for the sake of collaboration, that allows us to work outside it so as to fetishize the personal desires each of us may have.

CARRIE BROWNSTEIN: How do you shape and curate Ecstatic Peace?

THURSTON MOORE: The most important and passionate aspect of Ecstatic Peace is when I design the card-sized ad that runs every month in the back pages of The Wire.

CARRIE BROWNSTEIN: What is a record label’s role in the community where it’s based? Or does it need to have a physical presence?

THURSTON MOORE: It creates a true sense of activism in the culture.

CARRIE BROWNSTEIN: What’s the most punk-rock thing you’ve witnessed lately?

THURSTON MOORE: Iggy & The Stooges’ premiere of the Raw Power line-up (James Williamson on guitar) at this fest in Sao Paolo. Iggy was in feral freakout mode, creating an unhinged performance of violence and suggestion.

CARRIE BROWNSTEIN: How does living outside of New York City help you to understand and appreciate it?

THURSTON MOORE: It has proven that I’m really bored not being in the city — though I do like the colors, I guess.

CARRIE BROWNSTEIN: What is a band or artist you’re particularly excited about right now?

THURSTON MOORE: Yellow Tears, Yoga, Marblebog — those are three I like.

CARRIE BROWNSTEIN: What do you miss about 10 years ago? Twenty years ago? What don’t you miss?

THURSTON MOORE: I really don’t miss too much, except now I feel like I have less of a shelf life physically, which is a new feeling and kind of crazy.

CARRIE BROWNSTEIN: What is the last song you danced to?

THURSTON MOORE: I was just playing the 2CD reissue of The Slits’ Cut LP — I danced around to that. A girl I know started dancing when I put on Can’s Ege Bamyasi LP, and it was one of the most beautiful things I’ve ever seen.

CARRIE BROWNSTEIN: What’s the last book you read or film you saw that made you want to go home and play music?

THURSTON MOORE: I think it was probably reading Foam of the Daze by Boris Vian — the surreality and romantic energy of it, and its love of Duke Ellington, made me want to play.

En la entrevista original Carrie agrega algunas canciones grabadas bajo el sello perteneciente a Moore. Así que corran a su blog a escucharlas.

Y nada más por que es el favorito de este blog vamos a escuchar algunas de sus cacniones:

Thurston MooreWonderful Withches:

Thurston MooreFri/end:

Thurston MooreOno Soul:


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