Amazon.co.uk Review
It's either a blessing or a shame that the risks Sonic Youth take don't really matter any more. No longer the groundbreakers or the train-spotters they've played in the past, they are now a band like any other. They play for the sheer joy of sound, the kinetics of experience. There's no other reason left to do it--which must be incredibly liberating, and more than a little sad.
NYC Ghosts & Flowers is marked by the same yearning calm that defined its predecessor,
A Thousand Leaves. The hooks are conspicuous in their absence, as if to say the battle may be over, and we're better off having lost. The notable exception to this brilliant game of implication is "Nevermind (What Was It Anyway?)", an obvious indictment of the decade-defining "alt-rock" phenomenon SY partially inspired. It's only fitting that this track sounds lost amid an album far too wrapped in its own interior explorations to bother stating the obvious. Sure, you could say that
NYC Ghosts & Flowers is the group's best record since
Daydream Nation--what's a new Sonic Youth album without such an assessment?--but to do so would deprive them of their greatest achievement. No longer fashionable or influential, Sonic Youth persist in the strength of their own passions. They matter to themselves.
--Matt Hanks
CD Description
NYC GHOSTS & FLOWERS marks the approximate 10-year anniversary of Sonic Youth's involvement in arguably the most historic moment in indie-rock--their signing to Geffen Records. What NYC GHOSTS & FLOWERS mostly reveals is Sonic Youth's ability to continue to pursue their own vision, unencumbered by mainstream pop sensibilities.
Continuing in the mellow vein of 1998's A THOUSAND LEAVES, NYC GHOSTS & FLOWERS starts on an introspective note with the gently winding "Free City Rhymes" which waits patiently for almost three minutes untilThurston Moore's unmistakable light gravel voice eases in beside the guitar noodling. The album's high point comes a couple of songs later on the lightly infectious "Nevermind (What Was It Anyway)", with Kim Gordon singing as powerfully asever, followed by the potent poetic rambling rant of "SmallFlowers Crack Concrete". While obviously not as experimental as releases on their own and other indie labels, NYC GHOSTS & SHADOWS proves that an indie band can survive a decade on a major label and retain its integrity.