Last year, Sonic Youth played ‘Daydream Nation’ in full, night after night, across the UK as part of ATP’s ‘Don’t Look Back’ concert series. The sound was tremendous, the response rapturous, and a good time was had by all. Perhaps that’s what the 2000 or so people crammed into a ballroom above a bingo hall on a South coast holiday camp thought tbey were getting.
What they got was, reportedly, a disaster. Described by the NME as ‘shite’, slated by Melody Maker and scorned by the broadsheets, the gig was also considered something of a letdown by fans, many of them hardcore Sonic Youth fans. The show consisted of embryonic instrumentals for the then-unreleased ‘NYC Ghosts And Flowers’, with only one new track played. And that was ‘J’Accuse Ted Hughes’, finally given a release here. Here, taken out-of-context as it is, it sounds perfectly fine. It even starts with some warm applause, before it gets going with the main, noisy action. It is, however, just a noisy improvisation, the kind of thing that the various members produce in their sleep. Many other bands that SY have influenced would be deeply satisfied, but in their unique aesthetic trajectory, it’s hardly a lost classic.
The other track, ‘Agnes B. Musique’ most certainly is a lost classic. Like it’s companion, it was recorded some while back, in this case, around 2003, and with the intention of soundtracking a fashion show for the titular designer. Much more minimal and graceful than ‘J’Accuse’, it’s all over in 18 minutes, which is far too short. With organ to the fore, and hypnotic percussion throughout, Sonic Youth conjure a mesmeric textural wash. The dynamic changes are stealthy and insidious, and what it illustrates above all is how beautiful their music can be. Their skills don’t just stop at ear-damaging jams like ‘J’Accuse Ted Hughes’, as liberating as they can so often be. ‘Agnes B Musique’ is, arguably, one of the highlights in their incomparable career. It’s that good.
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