I've listened to daydream nation, i don't get it. Why is it considered good

I've listened to daydream nation, i don't get it. Why is it considered good

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there are literally no good sonic youth albums

Because Thurston and Lee are both incredible singers and the guitar tones are perfect.

Was it your first time? It took several tries to finally click with me t-b-h

>so, you like music?

It's in the National Recording Registry's archive.
They did something right *shrug*

...

Spirit Desire... Spirit Desire... Spirit Desire...

>*shrug*
Holy fucking fuck you're a faggot.
>ad populum
I can't believe I'm going to say this, but summer really is here.

We will fall

its was pretty abstract for a popish genre at the time, and that was refreshing. and i always thought it was just more unfiltered sounding that a lot of the other stuff around that time. still listen to it every once in a while.

It is easily one of my favorite records. You made me laugh if that helps

How many times have you purchased it on what types of media?

>You made me laugh if that helps
It does. I think a smile can change a lot. Me making you happy has brought me an equal amount of joy and I hope that it translates to a happier you and that you spread the joy. I want to make the world better one smile at a time.

I still think you're a dumb faggot who needs to learn to express yourself better and not use logical fallacies as as arguments.

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Vinyl, YouTube (ha) and CD
First pressing with the poster still in it used but still awesome.

How about you?

>(ha)
Stop doing this. I am seething right now. Express yourself properly please god dammit.

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Levity is necessary

Why the fuck would you be seething over something so min- oh yeah, Yea Forums
Also quads+69 noticed

You will find no disagreement here, but do it in a way that is less aggravating.

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Because fuck you that's why.

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The double Daydream Nation (Enigma, 1988) crowns this research, and at the same time constitutes the artistic summa of Sonic Youth. Ranaldo, Gordon and Moore expand the amoral fresco of their Death Valley with a series of infernal meditations on the desolation of contemporary existence. The orgiastic confusion of their sound acquires a moral depth for the first time, and behind powerful anthem-slogans such as Total Trash or Teenage Riot , inspired by English progressive punk-rock, and Daydream Nation himself (a splendid metaphor for America of the boom) , we can see a harsh social criticism.
The sound has reached an expressive maturity that boasts few equals in the annals of the decade: traces of the experimentalism of the origins are still felt, but suitably camouflaged in balanced harmonies wisely referring to the genres of the rock tradition. The motto of Ranaldo, Moore and Gordon is: multiplicity of style in the unity of the arrangement. The ingredients are in fact the same as ever: cold and detached singing, strings stretched to the limits of noise, chaotic tangles of counterpoints, obsessive repetition of chords, insistent percussion, alienating effects and suspenseful atmosphere.
From them arise now strong garage-rock ballads like Eric's Trip and Hey Joni . On the more psychedelic front Gordon cesella with a masculine and provocative voice Sprawl and Kissability , depressed litanies that fade into magma of dissonances, while Moore imitates Barrett in Candle , and on the more hard-core front Cross The Breeze takes up the thrash rhythm for a moment, while Rain King and Silver Rocket remember the "wall of guitars "by Branca. In these pieces the song form of rock is reconquered, but disfigured by instrumental accompaniments that resort, with discretion, to the experiments of the early years.

How Sonic Youths know how to set their narrations in harmonious universes of great suggestion and emotional hold is confirmed by Trilogy , in three movements: Wonder, the first part, is a typical kammerspiel underlined by the hypnotic and deafening beat in unison of all the instruments; Hyperstation is a free form jam capable of creating, with its intricate crescendo plot, with the metallic punctuation of the guitars and the frenetic pulsation of cymbals and tambourines, that atmosphere of terror and ecstasy that crosses the psychic degradation of a heroin addict with a hyper-realistic soundtrack; the tension explodes in Eliminator's caterpillar cadences , the napalm hard-core ending.
The synthesis of traditional and experimental elements is sealed and blessed by the meta-mythological "poses" of Ranaldo and Moore. Reed's decadent inflections permeate some of the most painful dissertations, Total Trash andHyperstation , not by chance the closest to the murky acid-jam of the Velvet Underground, and Dylan's harangue tone peeps behind Rain King and Eric's Trip , not surprisingly the most violent of the lot. These four pieces alone represent one of the vertices of the group's career. A seal of the record Gordon sings with a "cursed" tone to the Rimbaud verse It's their version of the "American dream".

Man I've tried to get into that album so many fucking times but I just can't. Don't hate it, but it's way too long to be that boring to me.

Repeat Candle then listen to Evol

Based temperament and trips + dubs kek

you disgust me.

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I only enjoy the first track, and even then only slightly.

I dunno, I like the way it sounds.