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Bad Moon Rising
 
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Bad Moon Rising

17 April 2012 | Format: MP3

£6.69 (VAT included if applicable)
Song Title
Time
Popularity  
30
1
4:58
30
2
3:56
30
3
4:51
30
4
8:21
30
5
4:25
30
6
6:56
30
7
2:56
30
8
5:22
30
9
5:13
30
10
5:11
30
11
3:35
30
12
1:09

Product details

  • Original Release Date: 9 April 1985
  • Label: Squeaky Squawk
  • Copyright: 2012 Squeaky Squawk
  • Total Length: 56:53
  • Genres:
  • ASIN: B007XQC1F6
  • Average Customer Review: 4.5 out of 5 stars  See all reviews (6 customer reviews)
  • Amazon Bestsellers Rank: 10,430 in Albums (See Top 100 in Albums)

Customer Reviews

4.5 out of 5 stars
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Most Helpful Customer Reviews

2 of 2 people found the following review helpful By A Customer on 29 Aug. 2001
Format: Audio CD
What can I say, Ive owned this strangely anthemic work for two years, and I find that listening to this album actually makes me want to make music. I enjoy the layered clanging interplay between the two guitars, which seems like a logical progression from the intelligent punk of television. There are random patches of ambience, stooges tracks played backwars between songs, a inspired blend of hardcore, avant-garde, jangle and surf punk, the gradiation of atonal sounds, working from quiet, peaceful to white noise. The first few tracks, the intro, "brave men run (in my family)" "soceity is a hole" and " i love her all the time" are all classics in abstract noise, i cant think of any other band that makes sounds like this. The highlight of the album is surf-punk lydia lunch collaboration "death valley 69", a ode to charles manson. The only actual bad excursion is "satan is boring", a few minutes of nothing much whatsoever. You can hear the origins of the noise-pop and riot grrl styles coming into fruition here. This really is like aural possesion. The bonus tracks, from the flower EP actually significantly add to the overall quality, theyre more in the stoner rock style, the feminist chant of "flower", the intimate seduction of "halloween", and the spaceship exploding-cum-needle being lifted from turn-table ending.
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1 of 1 people found the following review helpful By Dr. Delvis Memphistopheles TOP 500 REVIEWERVINE VOICE on 21 Mar. 2010
Format: Audio CD
80's was the golden rennaissance decade. A mono record player relayed this vinyl and we sat around transfixed, a beautiful piece of atonal noise sculpture emerged from the machine.

There was life on Mars and beyond as the sounds evoked places on the short wave dial not previously existing in the subconscious. The No Wave had turned tidal, brought into semblance with a new type of musicianship. Not the tedium of wandering the blues scale but the discovery, new forms of life can be extracted from the guitar. Seemingly it had not all been done, this showed there were things left to discover.

Supporting Mary Chain at the Hammersmith Palais, they played the album live and loud, it emerged a moment of transfixation. The Mary Chain blasted another feedback dimension, a fugue of noise with allegories of 60's melodies shining through the fugue of noise.

Sonic Youth noise wasn't the blast of a Boeing take off but the jagged smashes of steel banging on the outside of a high rise corrugated building trapped in a high wind. Not syncopated but rhythmically deadly. Sonic Youth use two vocalists a women and a male, another departure as usually one or the other controls the space. With few women involved in the industrial post punk scene Sonic Youth were unique.

The songs blend, mesh, cling, clang, scrap and thrash into eventual melodies. Just don't expect to get it in one sitting after being infected with daytime Radio Melody or Kerrang. There is something subversive weaving out of the noise, a snake sculpture with two bared fangs leaving you infected and wounded but also needing to return for more like an old biblical southerner.

Brave Men Run is Kim Gordon howling a sonic song of survival by stating the obvious.
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By R. Palmer on 2 May 2010
Format: Audio CD
...but that's far from a bad thing.

I wouldn't use this album as an in to Sonic Youth, it doesn't have the accessibility of a Daydream Nation, or a Goo. Fine albums both, but this is a good example of their other side. The side of Sonic Youth which makes improvised blowouts and loves free jazz.

Although the almost a-melodic aspect of this record means that it isn't likely to be played at your local indie disco that doesn't render it pointless. I think that Sonic Youth have persisted so long because their back catalogue has entries like this and because they are so open to new musical experiences.
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