Thurston Moore spoke about the lingering pain from his split with wife and Sonic Youth bandmate Kim Gordon, as well as his current relationship with Eva Prinz in a new interview with The Fly.
"I'm
involved in a really sweet relationship and it really does make me
happy, it truly does," Moore said. "But I’ll always have that experience
of sadness that a separation brings, especially one that was as
important, not just to me, but everybody around us. There have been some
fall-outs, but that’s to be expected. It's pretty heavy."
Moore
kept mum on the more private details about the split, including the
nature of his relationship with Prinz while still married to Gordon. In
an interview with Elle last year,
Gordon said their marriage "ended in a kind of normal way – midlife
crisis, starstruck woman." While he didn't comment specifically on
Gordon's interview, Moore said that the two do not tell each other what
they can and can't say, and that it comes down to what they each choose
to divulge.
"I’ve
had some life issues," Moore said. "In your 40s and 50s, things can
change in ways that upset the order of things that have been established
over 25 years-plus of marriage. It's really distressing. You have to
work through it, it's very personal and I don't really talk about it so
much."
Caught up in all of this was, of course, the music the couple made together in Sonic Youth,
and their divorce effectively put the band on an indefinite hiatus.
While Moore says that makes things more complicated, his focus is on the
future: "I’m in a really romantic place with Eva; we've kind of been a
couple for close to six years. A lot of those years, nobody was very
aware of it except us. The cat's been out of the bag a while now, that's
kinda where I'm at."
Both
Moore and Gordon have moved on to new musical projects since Sonic Youth
disbanded. Gordon and guitarist Bill Nace released Coming Apart, their debut album as the noise outfit Body/Head last year, while Moore also released the first record for his new band Chelsea Light Moving.
Moore
reportedly has a new solo record in the works as well, which could see
release on Matador later this year. He described the music as "fun,
dangerous, liberation of the idea of noise as complete rock'n'roll,"
adding, "The ideas are coming from my own guitar playing. I'm taking
ideas to [guitarist] James Sedwards. He's remarkable and we met through
Eva. It's local happenstance."
Brian Eno and Underworld's Karl Hyde have released "The Satellites," the first taste of their collaborative album, Someday World,
out May 6th on Warp. You can take a listen to the bustling dance cut
above, which blends rushing tick-tack percussion, striking synth blares
and crestfallen, near monotonous, vocals from Eno.
The track also features a number of guest collaborators, including Eno's old Roxy Music
cohort Andy Mackay on alto sax and the ambient legend's daughter Darla
(credited with lending the track those crucial "Ooh"s). "The Satellites"
also includes contibutions from Georgia Gibson on alto, tenor and
baritone saxophone, John Reynolds on drums, and producer Fred Gibson on
piano, drums, bass and backing vocals.
Eno and Hyde tapped a number of different musicians to help out on the rest of Someday World, including Coldplay drummer Will Champion and his wife Marianne, as well as soul singer Don-E and viola player Nell Catchpole.
You'll also be able to catch Eno singing on "Heavy Seas of Love," the final cut on Everyday Robots, the upcoming solo debut from Gorillaz and Blur's
Damon Albarn. "I've gotten to know him since we belong to the same
health club, though we engage in very different activities," Albarn said
of Eno in a recent chat with Rolling Stone.
"Mine are mind-numbing, machine-based running things. He was doing
something much more interesting: unisex water aerobics. Even in the
health club, he's being Brian Eno. I just figured you don't hear his
voice very often, so I thought it would be a great idea to get him to
sing."
Marc Almond released his 'Tasmanian Tiger' EP on February 14th.
THE NEW EP FEATURES A COLLABORATION WITH JARVIS COCKER, HOW DID THAT COME ABOUT AND HOW DID YOU DIVIDE THE WORK ON THE SONG BETWEEN YOU?
The Jarvis Cocker song ‘Worship Me Now’ just turned up one day, Jarvis had written it especially for me with his writing and production partner Jason Buckle. It was co produced with Tris Penna, and to be honest I had little to do with the track except my vocals and suggesting some gospel-girl backing vocals. I love the track!
’WORSHIP ME NOW', IS PARTICULARLY INTERESTING TO ME BECAUSE IT'S A RETURN TO YOUR ELECTRONIC ROOTS.
IT'S NOT A GENRE YOU SEEM TO WORK IN MUCH AT THE MOMENT, IS THAT BECAUSE YOU FEEL YOU'VE EXPLORED THAT AREA ENOUGH?
I've actually been returning to electronic sounds a lot recently. My next album, which will be out in September, has a lot of electronic leanings and I've been slowly recording songs with a German duo called Starcluster, and they’re very old school electro, and reference very early 80s, maybe even late 70s, sounds. I'm loving it again!
As a teenager in the 1980s, I amassed a large, eclectic
collection of that decade's vinyl. In going through it all, I find
myself listening more often to the hits less travelled, and after some
research, I discovered a surprising array of brilliant, beloved singles
that failed altogether to grace Casey Kasem's countdown. So I compiled a
list (in alphabetical order) of the best 80s singles that, despite
their awesomeness, never made Billboard's Top 40 (and in many cases, the
Hot 100)...
Anchorage (1988) - Michelle Shocked
A brittle, heartbreaking ode to friendships growing apart, this folk-pop
classic (#66) written in the style of a postal letter reminds us that
in the not so distant past, reconnecting with long lost friends didn't
happen with a Facebook search. (no music video available)
Ashes To Ashes (1980) - David Bowie
Despite a riveting music video, and a tuneful, inventive hook, Bowie
somehow missed the charts (#101) with this moody and memorable Scary Monsters jewel.
Bad Reputation (1981) - Joan Jett
In a catalog legendary for fiery badass rock hits, this two minute and
42 second fireball showcases Jett at her punk best. Missing the Hot 100
altogether, it's proof that the charts don't know anything.
Bizarre Love Triangle (1986), Blue Monday (1983) or anything by New Order
Top 40 success finally arrived with True Faith (#32, 1988), but come on - I hear Bizarre Love Triangle
more frequently on 21st century radio than I ever did in the 80s, and
the most bizarre thing about it to me is that it only made it to #98 in
its heyday.
Bringing On The Heartbreak (1982) - Def Leppard
One of the first metal videos on MTV, this dark beauty of a headbanging power ballad rocked its way to #61.
Burning Up (1983) - Madonna
"Unlike the others I'll do anything, I'm not the same, I have no shame,
I'm on fire." With these lyrics Madonna laid the foundation for her
career. A rock-infused dance treat (the second single from her debut
album), Burning Up failed to catch radio's attention in its day, but still ranks among her most delicious.
Cities In Dust (1986) - Siouxsie & The Banshees
Was her image too goth? Was singing about the volcanic eruption that
buried everyone in the lost city of Pompeii just too much for pop radio?
Whatever pop radio. Siouxsie Sioux cranked out some of the coolest,
smartest and catchiest singles (and videos) of the decade. I still get
chills listening to her croon "my friend" after essentially declaring
all is lost.
Dear God (1987) - XTC
Probably never stood a chance on U.S. Top 40, but college radio (as it
was called back then) ate it up. XTC's scorching laundry list of
everything wrong with the Bible (bookended with the vocals of an eight
year old girl) was the crowning jewel of Skylarking -- a
stunning concept album spanning the cycle from birth to death.
Destination Unknown (1982) - Missing Persons
Sexy pop tarts from Madonna to Gwen Stefani to Lady Gaga owe props to
Dale Bozzio, who (to my surprise) narrowly missed the Top 40 with her
band's two best known hits: Destination Unknown and Words (both peaked at #42).
Everywhere I Go (1986) - The Call
With echoes of U2 and Simple Minds, California's The Call made its mark
on college radio with dark, poetic radio ready anthems, yet were nowhere
to be found on Top 40. More essential Call singles: I Still Believe, Let The Day Begin, I Don't Wanna, The Walls Came Down.
Fascination Street (1988) - The Cure
An hypnotic, ghoulish wall of sound by rock's great gloomsters peaked at
#46 -- so why not six notches higher? In 1988, The Cure were
considered hot up and comers in late-to-the-party mainstream America,
which is crazy considering they already had a vast catalog including a
Greatest Hits album under their belt.
Here Comes Your Man (1989) - The Pixies
In a year when fellow alterna-darlings Love & Rockets and The Cure
cracked the top 10, the moment seemed right for The Pixie's three
minutes and twenty one seconds of pure pop perfection to rule the
charts, but for whatever reasons, it was to remain "alternative."
How Soon Is Now (1984) - or anything by The Smiths for that matter
Huge in their native England, The Smiths dark, jangling melodies had no impact whatsoever on mainstream U.S. radio in the 80s. How Soon Is Now tops my list of breathtaking Smiths singles, but any in their catalog will do.
I Melt With You (1982) - Modern English
This radio mainstay (#78) may be the most famous 80s track never to hit the Top 40.
I Need A Man (1987) - Eurythmics
Roaring Stonesy rocker from Eurythmics' underappreciated Savage
(#41). Its edgy video earned well-deserved MTV Video Music
nominations, but radio didn't roar along, and it stalled at #46 joining
the ranks of the duo's other great non Top 40 singles: Thorn In My Side (#68), You Have Placed A Chill In My Heart (#64), It's All Right Baby's Coming Back (#78), and Sexcrime (#81).
I Want Candy (1982) - Bow Wow Wow
Iconic 80s radio/MTV staple that much to my amazement only peaked at #62.
I'm In Love With The German Film Star (1981) - The Passions
A shimmering wash of layered guitars and synths opens this seductive,
unsung jewel, which went to #25 in its native UK, but was M.I.A. on US
radio. To quote the tune's final desperate lyric "I'm in love!"
Despite disbanding 26 years ago after only four albums, The
Smiths have never stopped receiving praise. Now, the band's short career
is being said to have produced the greatest album of all time.
NME gave that title to "The Queen is Dead,"
The Smiths' third album, on its newest list of the 500 best LPs in
music history. The British music publication's updated rankings -- the
last list came in 2003 and is frequently cited as a compendium of
music's greatest releases -- appear in this week's magazine. The Smiths
top lauded album by The Beatles, David Bowie, Pixies and Radiohead.
"The
Queen is Dead" provided some of the band's most beloved songs,
including "The Boy with the Thorn in His Side" and "There Is a Light
That Never Goes Out." Released in 1986, "Queen" garnered perfect reviews
from Rolling Stone, Pitchfork and Q Magazine. The album peaked at No. 2
on the U.K. Albums Chart and No. 70 on the Billboard Hot 100, and was
certified gold a few years after its debut. The Smiths went on to
release one more album, 1987's "Strangeways, Here We Come," before their
notorious split.
"Queen" appeared at No. 8 on NME's previous
list of the greatest albums, while The Stone Roses' self-titled release
slotted at No. 1. The new list finds The Beatles' "Revolver," David
Bowie's "Hunky Dory," The Strokes' "Is This It" and The Velvet
Underground & Nico's eponymous album rounding out the Top 5.
What do you think of The Smith's hefty accolade? Are they deserving of NME's crown? Sound off in the comments below.
Conversations:
italbear
"The U.S. is bound to have a different perspective on this choice, but
the Smiths were a radical force to emerge during Thatcher's England, and
their music was outrageously sophisticated and intelligent compared to
the pablum that was being foisted on the public at the time. I'm an
American, but I was blown away by the Smiths, and by that album in
particular. I think it is certainly one of the greatest albums of the
rock era. To quibble over which is best is a futile exercise in
individual tastes."
marred
"I love the smiths dearly but this is not the best album of all time and
it's not even the best smiths album. Strangeways is way better!"
Dan Delago
"Actually The Smiths' 'Meat is Murder' is a better album because it has their best song on it, 'How Soon Is Now.'"
totaleclipse
"I also prefer Meat is Murder but primarily for "Rusholme Ruffians". "I
might walk home alone...but my faith in love is still devout!" or
"Scratch my name on your arm with a fountain pen...this means you really
love me!""
Depeche Mode's new CD "DELTA MACHINE" has the group back
with the electro-grundge sound that harkens back to their mid '90s material.
The group now features a full-time drummer and Martin seems to play guitars
most of the time.
'Welcome To My World' opens the album with heavy beats and an ominus soundscape.
The first single release 'Angel' is as heavy with lots of clicks and buzzing chirps.
'Heaven' is the second single that features duets with lead singer Dave Gahan and lyracist Martin Gore.
'Broken' is a likeable mellow tune with a sinister electro beat.
"You can't fake it, I can feel it, You were broken from the start"
'Should Be Higher' opens like a rush of fresh air at a slow pace with a big
bass drum beat with a progressive drive.
"Your lies are more attractive then the truth"
'Soothe My Soul' is the third single release and perhaps my favorite and
it's danceable. A lusty song about knocking down doors and getting what ya need.
"There's only one way to soothe my soul!"
'Alone' is a hypnotic track about looking back at past love and circumstance.
"I was there when you needed me most..."
On a scale of 1 to 10, lamest to greatest, I give Delta Machine 7.
Will it be a classic? Probably not.
Would I listen to it again? Yes.
