With Thurston Moore playing here on Sept. 29th at the Henry Miller Library – tickets available here – you don’t need us to tell you about how great “Daydream Nation” is.
But I will anyway. Actually, I won’t. I’ll let Pitchfork do the talking. After all, they ranked it the single greatest album of the 80s, besting, to my eternal shock, Robin Gibb’s “How Old Are You.” (1983)
And it’s also fun and easy to just cut and paste a lot of text that someone else wrote, especially after a long night of dancing to the Four Tops at Fernwood.
So anyway, here’s why “Daydream Nation” is/was the greatest album of the 80s:
“I could sit here and force-feed you dietary information about Daydream Nation ‘s purported Importance, and because it’s ended up as our 80s MVP, perhaps that’s expected. But really, the reason I like Daydream Nation better than anything else spawned between 1980-89 is that, hell, it’s just the greatest fucking album. Few musical moments are more guaranteed to bring me joy than the joyous riff and snare rim clicks that kick off “Teen Age Riot”.
Never was the elusive Sonic Youth balance of noisecraft/songcraft kept so gloriously intact– despite containing few songs under five minutes, this is still the most accessible album they ever made (including even that brief period when they were trying to be accessible).
Thank their confidence in allowing themselves to stretch out their improv legs in the studio, to present the record with bright, clear production, to keep all the SKREEERAWWWKKK within the context of actual melodic songs. Thank the highest Lee ratio ever to be found on SY product, and unparalleled composition consistency from Thurston and, gasp!, Kim.
Daydream Nation was a noisy punctuation mark to the evolution of sub-radar rock in the Reagan years, and as long as people are still listening to guitars, it will remain a milestone.”