guardian.co.uk: As bassist for Sonic Youth, Kim Gordon was grunge's poster child. Now, as she moves into film, she's going back to her first love: car adverts. Link. found via antifreeze.de
Taking a breather from the Free Kitten snazz (while Miss Julie births Alice and teaches inner city high school, Yoshimi lives about 10,000 miles away and Mark Ibold is aswamp in the madness that is Pavement) Sonic Youth's femme-mystere Kim Gordon has created a distinctly new trio of spontaneous composition and prose. Since reclaiming the electric guitar (her original instrument with the Sonic Youth) and developing a newfound post-Patty Waters free-vox technique, she has enjoined her vision with the improvisational meta-talents of Ikue Mori (ex-drummer of no wave legends DNA, currently in a class by herself with other-world sampling) and DJ Olive (of the wizardly We, coiner of the ill term "illbient" and regarded by those in the heavy underground of postbeat turntable/drum'n'whatever as "the heaviest").More info and download
Sonic Youth: Peel Sessions, October 19, 1988.
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01. Rouche Rumble 3,69 M
02. My New House 7,38 M
03. Victoria 2,57 M
04. Psycho Mafia 2,15 M
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Peel Sessions on October 19, 1988. Sonic Youth
covered 4 Fall songs. "Victoria" is actually a cover
of The Fall who are in turn covering The Kinks.
Encoded at 128 kbps 44 khz
Total 15,8 M / 17:12 min.
Sonic Youth was one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song-structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance-art aesthetic borrowed from the New York post-punk avant garde, Sonic Youth redefined what noise meant within rock & roll. More
Sonic Youth was one of the most unlikely success stories of underground American rock in the '80s. Where contemporaries R.E.M. and Hüsker Dü were fairly conventional in terms of song-structure and melody, Sonic Youth began their career by abandoning any pretense of traditional rock & roll conventions. Borrowing heavily from the free-form noise experimentalism of the Velvet Underground and the Stooges, and melding it with a performance-art aesthetic borrowed from the New York post-punk avant garde, Sonic Youth redefined what noise meant within rock & roll. 
