| Artist |
Thurston Moore |
| Album Title: |
Demolished Thoughts |
| Album Cover: |
 |
| Primary Genre |
Alternative & Punk: Art Rock |
| Format |
CD |
| Released |
05/23/2011 |
| Label |
Matador Records |
| Catalog No |
OLE-953-2 |
| Bar Code No |
7 44861 09532 2 |
| Packaging |
Digipack |
| Tracks |
| 1.
|
Benediction (5:16)
|
| 2.
|
Illuminine (4:02)
|
| 3.
|
Circulation (4:10)
|
| 4.
|
Blood Never Lies (5:07)
|
| 5.
|
Orchard Street (6:56)
|
| 6.
|
In Silver Rain With A Paper Key (5:43)
|
| 7.
|
Mina Loy (4:02)
|
| 8.
|
Space (6:39)
|
| 9.
|
January (4:52)
|
|
| Date Acquired |
06/28/2011 |
| Personal Rating |
 |
| Acquired from |
Amazon |
| Purchase Price |
11.68 |
Web Links |
All Music Guide Entry:
Discogs Entry:
MusicBrainz entry: |
Notes |
Recorded at The Library, October/ November 2010, January 2011. Additional recording at Flowers & Cream, Northampton MA, July 2010. Mastered at Gateway Mastering.
Bass – Bram Inscore
Engineer – Cassidy Turbin, Cole Marsden Greif Neil*, Dean Nelson
Engineer [Additional Recordings] – Justin Pizzoferrato
Guitar, Vocals – Thurston Moore
Harp – Mary Lattimore
Mastered By – Bob Ludwig
Mixed By – Darrell Thorp
Percussion – Joey Waronker
Producer, Synthesizer, Vocals, Bass – Beck Hansen
Violin – Samara Lubelski
================================================================================
foobar2000 1.3.15 / Dynamic Range Meter 1.1.1
log date: 2017-06-30 02:16:28
--------------------------------------------------------------------------------
Analyzed: Thurston Moore / Demolished Thoughts
--------------------------------------------------------------------------------
DR Peak RMS Duration Track
--------------------------------------------------------------------------------
DR7 -0.36 dB -8.86 dB 5:16 01-Benediction
DR6 -0.01 dB -8.41 dB 4:03 02-Illuminine
DR4 -0.09 dB -5.30 dB 4:11 03-Circulation
DR7 -0.01 dB -9.82 dB 5:08 04-Blood Never Lies
DR5 -0.10 dB -6.95 dB 6:57 05-Orchard Street
DR6 -0.01 dB -8.45 dB 5:44 06-In Silver Rain With A Paper Key
DR5 -0.10 dB -6.99 dB 4:02 07-Mina Loy
DR7 -0.10 dB -9.17 dB 6:40 08-Space
DR7 -0.02 dB -10.18 dB 4:52 09-January
--------------------------------------------------------------------------------
Number of tracks: 9
Official DR value: DR6
Samplerate: 44100 Hz
Channels: 2
Bits per sample: 16
Bitrate: 798 kbps
Codec: FLAC
================================================================================
|
|
| Reviews |
All Music Guide Review:
Review by Heather Phares
Though it’s somewhat surprising Thurston Moore and Beck didn’t work together prior to Demolished Thoughts, their collaboration lives up to its promise, delivering an album of psychedelic chamber folk that is the perfect meeting of both artists’ mellow sides. At times, Beck the producer feels like a junior version of his longtime collaborator Nigel Godrich -- and indeed, Beck brings some of the expansive intricacy of works like Sea Change to this set -- but here he’s truly accomplished, embellishing Moore’s songs with special effects that really are special. “Illuminine”'s rippling harps and sparkling electronics conjure a vast, dusky twilight filled with fireflies, while the strings and layers of other sounds on “Blood Never Lies” float along like pieces of dandelion fluff. These filigrees add a beauty that doesn’t get in the way of Moore’s strumming and melodies, whether they’re angular or flowing, or both, as is the case with “Mina Loy”'s descending drones. Beck also adds a trippy depth to Demolished Thoughts that is often breathtaking, particularly on “Circulation,” a tone poem about vinyl that grows from atonal acoustic riffing into a sound-world of sawing, strafing strings, and on “In the Silver Rain with a Paper Key”'s meditative shimmer. This approach is a big change from Moore’s previous solo effort, the much more down-to-earth Trees Outside the Academy, which felt like a more distinct entity from Moore's work with Sonic Youth. In some ways, Demolished Thoughts' size and polish rivals anything he’s done with them, and it’s hard not to hear echoes of the band on several of these songs. “Benediction” opens the album with the kind of pastoral ruminations Moore has been dabbling in since Washing Machine, albeit given an extra glow thanks to the hypnotic layers of percussion, keyboards, and strings woven throughout. Meanwhile, “Orchard Street”'s stream-of-consciousness evocation of New York feels like it’s just down the block from Murray St. Of course, it’s hardly bad or surprising that Moore’s work resembles itself, especially not when the results are this compelling.
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| Cover 1 |
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| Cover 2 |
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| Cover 3 |
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| Cover 4 |
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| Cover 5 |
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| Cover 6 |
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| Cover 7 |
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| Cover 8 |
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| Cover 9 |
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