Category Archives: Thurston Moore

Thurston Moore – Demolished Thoughts

Thurston Moore – Demolished Thoughts

4/5

2011

Thurston Moore and Beck have long admired each other’s work, and the two of them make such a perfect fit that it’s hard to imagine they haven’t collaborated before. One imagines they’ve wanted to but haven’t had the time. After all, even when they aren’t recording their own work, they are producing, directing, writing music for soundtracks, collaborating with others and otherwise being the multi-talented artists they are. But for such busy people, Moore’s third solo album, the Beck-produced Demolished Thoughts, is a carefully considered, often gentle, piece of acoustic chamber psychedelia. Moore has worked with these moods before, particularly in his ’90s work with Sonic Youth, but Beck does here what Nigel Godrich did for his own folkier records—he fleshes these songs out, giving them more depth and a more expansive feel than they would otherwise have. Moore’s songs are swaying and wistful by themselves, even when he plays atonal acoustic riffs or branches off into extended jams, but Beck brings in twinkling harps, shimmering synths and gorgeous string sections, among other subtler touches, that embellish the record’s trippy feel. Yet all of this would simply be ornamentation without Moore’s songs, which succeed far more often than not. “Benediction” is achingly beautiful, highlighting his intricate guitar work and sighing vocals; “Illuminine” and “In Silver Rain With A Paper Key” have a drowsy flow; “Circulation”‘s thundering choruses and atonal riffs rail against the stately arrangements of the rest of the record. Despite the prettiness, Moore isn’t afraid to slip into dissonance and drone now and again, especially on “Orchard Street” and “Space,” which almost begin to feel like MTV Unplugged: Sonic Youth. If Demolished Thoughts sometimes begins to sound same-y, there’s enough beauty in the less memorable moments to make it all worth it. All in all, it’s a record that should appeal not only to Moore’s following but fans of thoughtful, low-key rock.

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