Washing Machine (2016 Remaster) Sonic Youth

• 1 Becuz 04:43
• 2 Junkie's Promise 04:02
• 3 Saucer-Like 04:25
• 4 Washing Machine 09:33
• 5 Unwind 06:02
• 6 Little Trouble Girl 04:29
• 7 No Queen Blues 04:35
• 8 Panty Lies 04:15
• 9 Becuz Coda 02:49
• 10 Skip Tracer 03:48
• 11 The Diamond Sea 19:36
• Total Runtime 01:08:17

Info for Washing Machine (2016 Remaster)

„Washing Machine“ returns Sonic Youth to the ringing electric guitars, clever songwriting and multi-layered arrangements that are the band's calling card. Not the casual acoustic sigh of its predecessor, „Experimental Jet Set“, „Trash And No Star“, Washing Machine's electricity gives Sonic Youth new life.

With its sprawling guitar noise, 'The Diamond Sea' recalls the GOO-era 'Mote,' proving that the crunching metallic waves that once made Sonic Youth so impressive are back. 'Junkie's Promise' trembles with distortion and shimmering melodic phrases, while 'Saucer-Like' brings the band's clamoring two-guitar dynamic back into focus. This is the band's triumph--their sound is easier to digest, and invites the listeners to re-examine their strengths.

„Washing Machine“ is also a return to form in terms of songwriting. 'Panty Lies' continues Kim Gordon's hipster manifesto series, giving us another glimpse of the world from her perspective--'oh how rude,' she sneers, 'at least I got your attention, square.' 'Skip Tracer' hints at Sonic Youth's position as baby-sitters for the next generation of alternative rockers, but isn't condescending. In fact, it's one of the best moments on the album. A description of a singer 'shouting the poetic truths of high school journal takers' exemplifies the age gap between Sonic Youth and the new generation, but it doesn't alienate them. It's just such awareness that makes WASHING MACHINE work. Sonic Youth's respect for the scene they helped create will forever keep them on top of the indie heap.

„After the regressive, low-key Experimental Jet Set, Trash & No Star, Sonic Youth appeared to be floundering somewhat, but Washing Machine erased any notion that the band had run out of things to say. Easily their most adventurous, challenging, and best record since Daydream Nation, the album finds Sonic Youth returning to the fearless exploration of their SST records, but the group has found a way to work that into tighter song structures. Not only are the songs more immediate than most of the material on their earlier records, the sound here is warm and open, making Washing Machine their most mature and welcoming record to date. It's not a commercial record, nor is it a pop record, but Washing Machine encompasses everything that made Sonic Youth innovators, and shows that they can continue to grow, finding new paths inside their signature sound.“ (Stephen Thomas Erlewine, AMG)

Thurston Moore, vocals, guitar
Kim Gordon, vocals, guitar, bass
Lee Ranaldo, vocals, guitar
Steve Shelley, drums
Additional musicians:
Kim Deal, additional vocals on 'Little Trouble Girl'
Lorette Velvette, additional vocals on 'Little Trouble Girl'
Melissa Dunn, additional vocals on 'Little Trouble Girl'

Recorded January – May 1995 at Easley Studios in Memphis, Tennessee and Mott and Greene Street Studios, NY
Recorded and mixed by John Siket
Mixed at Green Street Studios, New York, NY
Mastered at Masterdisk (New York, NY
Produced by Sonic Youth, John Siket

Digitally remastered

Sonic Youth
began way back in 1980 in the downtown disaster unit of NYC. First three records (Sonic Youth, Confusion is Sex, Kill Yr Idols) began in 1981 on the Neutral label started by Glenn Branca. They then signed to Gerard Cosloy’s Homestead imprint releasing Bad Moon Rising and the Flower/Halloween 12” to universal intrigue and acclaim. They switched labels to release records (Sister, Evol) on SST, the Southern California label overseen by Greg Ginn of Black Flag, while Mr. Cosloy went on to join Matador Records with Chris Lombardi. Concurrently they established a relationship with Paul Smith and Blast First Records in the UK co-releasing the Homestead and SST titles and culminating with the massive end of the decade double LP Daydream Nation, since added to the National Recording Registry at the Library of Congress. The band signed to DGC/Geffen in 1990 and began an ascendant affair there releasing Goo and Dirty to much heated excitement until the label became a scattered asylum. They continued to release strange, out-of –step recordings with Geffen throughout the 90s and early 2000s. Young wizard Jim O’Rourke came on board with the band as a multi-instrumentalist/producer collaborating on two of their most progressive LPS to date, Murray Street and Sonic Nurse, as well as the ongoing series of experimental LPs on the bands own SYR imprint. After Jim’s departure, and after releasing Rather Ripped, their final statement on Geffen (and which ranked third in Rolling Stone's Top 50 Albums of 2006) the band recruited their pal from compatriot 90s band Pavement, Mark Ibold, to play bass. After a solid bout of touring Mark joined the band in the recording of The Eternal. The cover art is a painting by the late, great American folk artist John Fahey. This is where we live forever. Sweet dreams…

This album contains no booklet.