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live","url":"https://www.last.fm/tag/seen+live"}]},"bio":{"links":{"link":{"#text":"","rel":"original","href":"https://last.fm/music/Sonic+Youth/+wiki"}},"published":"10 Feb 2006, 12:01","summary":"Sonic Youth was an influential experimental rock band which formed in New York City, New York, United States in 1981 and are currently on an indefinite hiatus. The last lineup consisted of Thurston Moore (vocals, guitar), Kim Gordon (vocals, bass, guitar), Lee Ranaldo (vocals and guitar), Steve Shelley (drums) and Mark Ibold (bass).\n\nIn their early career, Sonic Youth was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups Read more on Last.fm","content":"Sonic Youth was an influential experimental rock band which formed in New York City, New York, United States in 1981 and are currently on an indefinite hiatus. The last lineup consisted of Thurston Moore (vocals, guitar), Kim Gordon (vocals, bass, guitar), Lee Ranaldo (vocals and guitar), Steve Shelley (drums) and Mark Ibold (bass).\n\nIn their early career, Sonic Youth was associated with the No Wave art and music scene in New York City. Part of the first wave of American noise rock groups, the band carried out their interpretation of the hardcore punk ethos throughout the evolving American underground that focused more on the DIY ethic of the genre rather than its specific sound. As a result, Sonic Youth was pivotal in the rise of the alternative rock movement.\n\nSonic Youth have expressed a wide variety of influences, ranging from the influential protopunk musician Patti Smith to composer John Cage. The band has been praised for having \"redefined what rock guitar could do\", using a wide variety of unorthodox guitar tunings, and preparing guitars with objects like drumsticks and screwdrivers to alter the instruments' timbre.\n\nFormation and early history: 1977-1981\n\nSonic Youth's history began when guitarist Thurston Moore moved to New York City in early 1976. Interested in punk, Moore joined the Coachmen, a guitar-based quartet, after arriving in the city. Lee Ranaldo, an art student at Binghamton University, became a fan of the Coachmen, and he and Moore were soon friends. Ranaldo was a member of Glenn Branca's electric guitar ensemble, touring throughout the United States and Europe. After the breakup of the Coachmen, Moore began jamming with Stanton Miranda, whose band, CKM, featured local artist Kim Gordon.\n\nMoore and Gordon formed a band, appearing under names like Male Bonding and Red Milk before agreeing upon the Arcadians in late 1980. The band played their first show at Noise Fest in June 1981 at New York's White Columns gallery. Branca's ensemble played at the festival. Their performance impressed Moore, who described them as \"the most ferocious guitar band that I had ever seen in my life.\" After Branca's set, Moore asked Ranaldo if he wanted to join the Arcadians. Ranaldo accepted; the band played three songs at the festival later in the week without a drummer. Each band member took turns playing the drums, until they met drummer Richard Edson.\n\nMoore soon renamed the band \"Sonic Youth\". The name came from combining the nickname of MC5's Fred \"Sonic\" Smith with the trend of reggae artists, such as Big Youth, featuring the word \"Youth\" in their names. Gordon later recalled that \"as soon as Thurston came up with the name Sonic Youth, a certain sound that was more of what we wanted to do came about.\"\n\n\nEarly releases: 1982-1985\n\nBranca signed Sonic Youth as the first act on his record label Neutral Records. In December 1981 the group recorded five songs in a studio in New York's Radio City Music Hall. The material was a released as the Sonic Youth mini-LP that, while largely ignored, was sent to a few key members of the US press that gave it uniformly favorable reviews. After their first record, Edson quit the group for a modestly successful acting career and was replaced by Bob Bert.\n\nDuring their early days as part of the New York music scene, Sonic Youth formed a friendship with noisy New Yorkers Swans. The bands came to share the same rehearsal space, and Sonic Youth embarked on its first tour, a two-week journey through the southern United States starting in November 1982, supporting Swans. During a second tour with Swans of the Midwest the following month, tensions ran high and Moore constantly criticized Bert's drumming, which he felt wasn't \"in the pocket\". Bert was fired afterwards and replaced by Jim Sclavunos, who played drums on the band's 1983 album Confusion Is Sex. Sonic Youth set up a two-week tour of Europe for the summer of 1983. Sclavunos, however, quit after only a few months. The group asked Bert to rejoin, and he agreed, on the condition that he would not be fired again after the tour's conclusion.\n\nSonic Youth found themselves well-received in Europe, but the New York press largely ignored the local noise rock scene. Eventually, as the press began to take notice of the genre, Sonic Youth was grouped along with bands like Big Black, the Butthole Surfers and Pussy Galore under the \"pigfuck\" label by Village Voice music critic Robert Christgau. (Christgau saw these bands as sharing an abrasive, noisy and confrontational aesthetic.) Based on this classification, and on a negative live review by Christgau, a feud developed between Moore and the critic, with Moore renaming the song \"Kill Yr Idols\" to \"I Killed Christgau With My Big Fucking Dick\" before the two sorted out their differences amicably.\n\nDuring another tour of Europe in 1984, Sonic Youth's disastrous London debut (where the band's equipment malfunctioned and Moore consequently destroyed the equipment onstage in frustration) actually resulted in rave reviews in Sounds and the NME. By the time they returned to New York, they were so popular they played shows practically every week. That same year Moore and Gordon were married and Sonic Youth released Bad Moon Rising, a self-described \"Americana\" album that served as a reaction to the state of the nation at the time. The album, recorded by Martin Bisi, was built around transitional pieces that Moore and Ranaldo had come up with in order to take up time onstage while the other guitarist was busy tuning his instrument; as a result there are almost no breaks between the songs on the record, which feature walls of feedback and pounding rhythms. Bad Moon Rising featured an appearance by Lydia Lunch on the album's single \"Death Valley '69\", inspired by the Charles Manson Family murders. In contrast to their abrasive, atonal material of the time, the band considered the song relatively conventional. Due to a falling-out with Branca over disputed royalty payments from their Neutral releases, they were signed to Homestead Records by Gerard Cosloy and by Blast First in the UK (which founder Paul Smith created simply so he could distribute the band's records in Europe). While even the New York press ignored Bad Moon Rising upon its release, now viewing the band as too arty and pretentious, Sonic Youth was becoming quite critically acclaimed in the United Kingdom, where the new album had sold 5,000 copies in just six months.\n\nClaiming he was bored with playing Bad Moon Rising live in its entirety for over a year, Bert quit the group and was replaced by Steve Shelley, formerly of the hardcore group Crucifucks. The band was so impressed with Shelley's drumming after seeing him play live they hired him without an audition. Bert has remained on good terms with the group; he and Shelley both appeared in the music video for \"Death Valley '69\", as Bert performed the drums on the song, but Shelley was the group's drummer when the video was made.\n\n\nSST and Enigma: 1986-1989\n\nSonic Youth had a long fascination with influential indie label SST Records. Ranaldo said, \"It was the first record company we were on that we really would have given anything to be on.\" Sonic Youth eventually signed to the label in early 1986 and began recording Evol with Martin Bisi in March of that year.\n\nEvol itself represented an evolution of sorts for the band: in addition to increasingly melodic material and the impact of new drummer Shelley's playing, the record also dealt with themes of celebrity, particularly with songs like \"Expressway To Yr Skull\" (called \"a classic\" by Neil Young) and \"Marilyn Moore\". Signing to SST catapulted the band on to a national stage, something that did not happen to their peers in the New York underground. The mainstream music press subsequently began to take notice of the band. Robert Palmer of the The New York Times declared that Sonic Youth was \"making the most startlingly original guitar-based music since Jimi Hendrix\" and even People praised Evol as the \"aural equivalent of a toxic waste dump.\" Evol is also notable for a guest appearance by bass guitarist Mike Watt, a friend whom the band coaxed to come to New York after he was deeply depressed by the death of his bandmate, D. Boon.\n\nOn 1987's Sister, Sonic Youth continued refining their blend of pop song structures with uncompromising experimentalism. Another loose concept album, Sister is partly inspired by the life and works of science fiction writer Philip K. Dick (the \"sister\" of the title was Dick's fraternal twin, who died shortly after her birth, and whose memory haunted Dick his entire life). Sister sold 60,000 copies and received very positive reviews, becoming the first Sonic Youth album to crack the Top 20 of the Village Voice's Pazz & Jop critics poll.\n \nDespite the critical success, the band was becoming increasingly dissatisfied with SST due to concerns about payment and other administrative practices. Sonic Youth decided to release their next record on Enigma Records, which was distributed by Capitol Records and partly owned by EMI. The 1988 double LP Daydream Nation was a critical success that earned Sonic Youth substantial acclaim. The album came in second on the Village Voice Pazz & Jop poll and topped the year-end album lists of the NME, CMJ, and Melody Maker. In 2006, it was one of 50 recordings chosen that year by the Library of Congress to be added to the National Recording Registry. The lead single from the album, \"Teen Age Riot\", was the first song from the band to reach significant success, receiving heavy airplay in modern and college rock stations. A number of prominent music periodicals including Rolling Stone hailed Daydream Nation as one of the best albums of the decade and named Sonic Youth as the \"Hot Band\" in its \"Hot\" issue. Unfortunately, distribution problems arose and Daydream Nation was often difficult to find in stores. Moore considered Enigma a \"cheap-jack Mafioso outfit\" and the band began looking for a major label deal.\n\n\nMajor label career and alternative icons: 1990-1999\n \nIn 1990, Sonic Youth released Goo (their first album for Geffen), which featured the single \"Kool Thing\" on which Chuck D from rap group Public Enemy guested. \"Kool Thing\" became the song that many casual music fans associate with the band; it was later featured in the video game Guitar Hero III and was made available as a paid download for the Rock Band video game. The record is considered much more accessible than their previous work. Their 1991 tour with the then relatively unknown Nirvana was captured in the film 1991: The Year Punk Broke.\n\nIn 1992, the band released Dirty on the DGC label. Their influence as tastemakers continued with their discovery of acclaimed skateboard video director Spike Jonze, who they recruited for the video for \"100%\", which also featured skateboarder turned actor Jason Lee. This song, along with the Gordon tune \"JC\" contain lyrical references to the murder of Joe Cole, a friend who worked with the band as a roadie. The album features artwork by Los Angeles-based artist Mike Kelley. In addition, Robert Bradley's Blackwater Surprise opened on numerous occasions for Sonic Youth in the late 90s. \"Dirty\" features a guest appearance by Ian McKaye (Minor Threat and Fugazi) playing guitar on the track \"Youth Against Fascism\".\n\nIn 1994 the band released Experimental Jet Set, Trash and No Star, their best charting release in the United States, which peaked at #34 on the Billboard 200. The album was filled with low-key melodies and even produced a hit single, \"Bull in the Heather\". Moore and Gordon's daughter, Coco Hayley Gordon Moore was born earlier in the year, and many of the songs from the album were never played live because there was never a full tour to support the album due to Gordon's pregnancy.\n\nThe band headlined the 1995 Lollapalooza festival. By that time, alternative rock had gained considerable mainstream attention, and the festival was parodied on The Simpsons 1996 episode \"Homerpalooza\", which featured voiceovers from the band. They also performed the final credits theme for that episode.\n\nGordon collaborated in Free Kitten, and started a clothing label X-Girl, based in Los Angeles. Ranaldo and Moore have played with many experimental / noise musicians, including William Hooker, Nels Cline, Tom Surgal, Don Dietrich, Christian Marclay and Mission of Burma, among others. Shelley runs the Smells Like Records record label, as well as playing in backing bands for Chan Marshall (Cat Power) and Two Dollar Guitar.\n\nFrom Sonic Youth's earliest days, Gordon had occasionally played guitar with the group. About the time of A Thousand Leaves and Washing Machine she began playing guitar more frequently, resulting in a three-guitar and drums lineup. These songs were something of a shift for the group's sound, and would lead to the introduction of a fifth member a few years later.\n\nThe Washing Machine album started a major shift in the band, away from their punk roots, that working with longer noise-jam sections and included two tracks that showed the new approach in full force - the title track \"Washing Machine\", which is just under 10 minutes long, and \"The Diamond Sea\", which is over 19 minutes long.\n\nDuring the late 1990s and early 2000s, the band began releasing a series of highly experimental records on their own Hoboken, New Jersey-based label SYR. The music was mostly instrumental, and the album and track titles and even the liner notes and credits were in different languages: SYR1 was in French, SYR2 in Dutch, SYR3 in Esperanto, SYR5 in Japanese, SYR6 in Lithuanian, SYR7 in Arpitan, and SYR8 in Danish. SYR3 was the first to feature Jim O'Rourke, who went on to become an official band member.\n\nSYR4 was subtitled \"Goodbye, 20th Century\" and featured works by avant-garde classical composers such as John Cage, Yoko Ono, Steve Reich, and Christian Wolff played by Sonic Youth along with several collaborators from the modern avant-garde music scene, such as Christian Marclay, William Winant, Wharton Tiers, Takehisa Kosugi and others. The album received mixed reviews, but some critics praised the group's efforts at popularizing and reinterpreting the composers' works.\n\n\nLater DGC period: 2000-2006\n\nOn July 4, 1999, Sonic Youth's instruments, amps, and gear were stolen in the middle of the night while on tour in Orange, California (see initial post on Usenet). Forced to start from scratch with new instruments, they recorded NYC Ghosts & Flowers and opened for Pearl Jam during the east coast leg of their 2000 tour.\n\nIn 2001 Sonic Youth collaborated with French avant-garde singer and poet Brigitte Fontaine in Fontaine's album \"Kékéland\".\n\nWhen the September 11, 2001 attacks occurred, several members of the band were blocks away, Jim at their NYC studio (Echo Canyon on Murray Street), and Ranaldo and his wife Leah nearby at home. After the attacks, they curated the first U.S. outing of the All Tomorrow's Parties music festival in L.A. The festival was originally scheduled for October 2001, but it was delayed until March the following year due to the attacks.\n\nIn the summer of 2002, Murray Street was released; many critics heralded a \"return to form for SY\", seemingly revitalized by the addition of Jim O'Rourke, who became a full member during this period, playing bass guitar, guitar, and occasionally synthesizer. This was followed in 2004 by the release of Sonic Nurse, an album similar in sound and approach to its immediate predecessor that also received positive reviews. \"Pattern Recognition\", a song named after the 2003 William Gibson novel, finds the band once again using Gibson's work for inspiration. The band also showed their pop culture commentary and sense of humor with the track \"Mariah Carey and the Arthur Doyle Hand Cream\", a faster-tempo song sung by Gordon, which spoofed Carey's life, including her short-lived relationship with rapper Eminem, which originally appeared on a 2003 split 7\" with Erase Errata (on the album cover, the reference to \"Mariah Carey\" in the title was replaced by \"Kim Gordon\" due to potential copyright issues. Sonic Nurse had decent sales, in part due to performances on TV talk shows including Late Night with Conan O'Brien and The Tonight Show with Jay Leno. The band was also slated to perform in 2004's Lollapalooza tour along with acts such as The Pixies and The Flaming Lips, but the concert was canceled due to lackluster ticket sales. When the band toured later that year, they played extensively from their 1980s catalog.\n\nOn October 6, 2005, Los Angeles CityBeat reported that some of the gear stolen in 1999 was surprisingly recovered and that it might be used for recording of the next album, then tentatively titled Sonic Life. The report also said that Jim O'Rourke might be leaving the band soon; his departure was confirmed by Lee Ranaldo in an interview to Pitchfork Media. In May 2006, the group announced on their website that ex-Pavement member Mark Ibold would play bass for the band on their upcoming tour.\n\nRather Ripped was released in Europe on June 5, 2006 and in the USA on June 13, 2006. Compared to previous Sonic Youth recordings, the album features many short, conventionally structured, melodic songs and fewer feedback-fuelled left field improvisations (the band's avant-garde tendencies nowadays have been largely exorcised through SYR releases and solo outings rather than band albums). Later that summer, Sonic Youth played the 2006 Bonnaroo Festival, as well as Lollapalooza, promoting the album. In December, Rolling Stone made it their number three Album of the Year 2006.\n\nThe band released The Destroyed Room: B-Sides and Rarities in December 2006. It features tracks previously available only on vinyl, limited-release compilations, b-sides to international singles, and some material that had never before been released. This marked the band's final Geffen release.\n\n\nIndependent agents and signing to Matador: 2007–2013\n\nIn 2007, the band became one of the earliest big-name rock bands to play in China when they were brought in for a tour by the music company Split Works. In 2008 they released a compilation album on Starbucks Music, called Hits Are for Squares, with the tracks selected by other celebrities. Later in 2008, Sonic Youth ended their relationship with Geffen, due to dissatisfaction with how the label had promoted their last several albums. They then signed with independent label Matador Records, which released the album The Eternal in 2009. During this period they collaborated with John Paul Jones on the soundtrack for a performance at Merce Cunningham Dance Company to honor the company's founder. In 2010 the band scored and composed the soundtrack of the French thriller-drama Simon Werner a Disparu, which premiered at the Cannes International Film Festival. The soundtrack was released in 2011 as SYR9: Simon Werner a Disparu, an entry in experimental SYR series.\n\nDisbandment: 2011–2013\n\nOn October 14, 2011, Kim Gordon and Thurston Moore announced that they had separated after 27 years of marriage. Sonic Youth's label Matador explained that plans for the band remained \"uncertain\", despite previously hinting that they would record new material later in the year. Sonic Youth performed their final concert on November 14, 2011, at the SWU Music & Arts Festival in Itu, São Paulo, Brazil. The following week, Lee Ranaldo stated in an interview that Sonic Youth would be \"ending for a while\".\n\nPost-disbandment activities: 2013–present\n\nIn November 2013, Ranaldo said in response to the question of a possible reunion, \"I fear not. Everybody is busy with their own projects, besides that Thurston and Kim aren't getting along together very well since their split… Let [the band] rest in peace.\"Thurston Moore updated and clarified the matter in May 2014: \"Sonic Youth is on hiatus. The band is a democracy of sorts, and as long as Kim and I are working out our situation, the band can't really function reasonably.\" In her 2015 autobiography Girl in a Band, Gordon refers several times to the band having \"split up\" for good.\n\nIn 2020 during the COVID-19 pandemic, Sonic Youth sold official face masks based on the artwork from the album Sonic Nurse, with proceeds going to charities Brooklyn Community Bail Fund, Bed Stuy Strong, and Alexandria Ocasio-Cortez's COVID-19 Relief Fund. The same year, an extensive archive of live recordings from throughout the band's history was released on Bandcamp.\n\nIn January 2022, a new single \"In & Out\" was released ahead of the March release of the rarities EP In/out/In.[84] The five-track EP featured previously unissued outtakes recorded between 2000 and 2010.\n\nIn October 2023, Sonic Life: A Memoir, a hardcover memoir written by Thurston Moore, was published by Doubleday.\n\nMusical style and influences:\n\nAlternative tunings\n \nSonic Youth's sound relies heavily on the use of alternative tunings. Scordatura on stringed instruments has been used for centuries and alternative guitar tunings had been used for decades in blues music, and to a limited degree in rock music (such as with Lou Reed's Ostrich guitar on The Velvet Underground & Nico), but Sonic Youth began using a variety of tunings more radical than nearly anything in rock music history. The tunings were painstakingly developed by Moore and Ranaldo during the band's rehearsals; Moore once reported that the odd tunings were an attempt to introduce new sounds: \"When you're playing in standard tuning all the time ... things sound pretty standard.\" Rather than re-tune for every song, Sonic Youth generally use a particular guitar for one or two songs, and can take dozens of instruments on tour. This can be the source of much trouble for the band, as some songs rely on specific guitars that have been uniquely prepared.\n\nInfluences\n\nBesides Branca, French avant-gardist Brigitte Fontaine, Patti Smith, Public Image Ltd (PiL) and The Stooges, another influence was 1980s-era hardcore punk; after seeing Minor Threat perform in May 1982, Moore declared them \"the greatest live band I have ever seen\". While recognizing that their own music was very different from hardcore, Moore and Gordon, especially, were impressed by hardcore's speed and intensity, and by the nationwide network of musicians and fans. \"It was great,\" said Moore, \"the whole thing with slam dancing and stage diving, that was far more exciting than pogoing and spitting.... I thought hardcore was very musical and very radical.\"\n\nThurston Moore and Lee Ranaldo have expressed on numerous occasions their admiration for the music of Joni Mitchell, such as this quote by Thurston Moore: \"Joni Mitchell! I’ve used elements of her songwriting and guitar playing, and no one would ever know about it.\" Additionally, Joni Mitchell has always used a number of alternative tunings, as does Sonic Youth. The band named a song after her, \"Hey Joni.\"\n\nMembers of the band have also maintained relationships with other avant-garde artists from other genres and even other media, drawing influence from the work of John Cage and Henry Cowell. For a 1988 Peel Session, Sonic Youth covered three songs by The Fall and \"Victoria\" by The Kinks, also covered by The Fall. Sonic Youth has featured album art by several well-known avant-garde visual artists, such as Mike Kelley and Gerhard Richter, whose paintings from his \"Candles\" series was used as artwork on Daydream Nation.\n\n\nMembers:\n\nThurston Moore - guitar, bass guitar, vocal;\nLee Ranaldo - guitar, vocal;\nKim Gordon - bass guitar, guitar, vocal;\nMark Ibold - bass guitar;\nSteve Shelley - drums.\n\nFormer members:\n\nAnne DeMarinis - keyboards;\nJim O'Rourke - guitar, bass guitar;\nBob Bert - drums;\nRichard Edson - drums;\nJim Sclavunos - drums. Read more on Last.fm. User-contributed text is available under the Creative Commons By-SA License; additional terms may apply."}}55:T2999,{"id":"5cbef01b-cc35-4f52-af7b-d0df0c4f61b9","type":"Group","type-id":"e431f5f6-b5d2-343d-8b36-72607fffb74b","score":100,"name":"Sonic Youth","sort-name":"Sonic Youth","country":"US","area":{"id":"489ce91b-6658-3307-9877-795b68554c98","type":"Country","type-id":"06dd0ae4-8c74-30bb-b43d-95dcedf961de","name":"United States","sort-name":"United States","life-span":{"ended":null}},"begin-area":{"id":"74e50e58-5deb-4b99-93a2-decbb365c07f","type":"City","type-id":"6fd8f29a-3d0a-32fc-980d-ea697b69da78","name":"New York","sort-name":"New York","life-span":{"ended":null}},"end-area":{"id":"b9c73c14-0659-4afb-a5b8-7f60329cd2f1","type":"City","type-id":"6fd8f29a-3d0a-32fc-980d-ea697b69da78","name":"Paulínia","sort-name":"Paulínia","life-span":{"ended":null}},"disambiguation":"US rock 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Born December 10, 1965 in Amherst, Massachusetts, he first emerged as a member of the hardcore unit Deep Wound, founding Dinosaur in 1984. Over the course of acclaimed LPs like 1987's You're Living All Over Me and 1988's Bug, the group emerged among the most highly regarded in alternative rock, with [b]J Mascis[/b]' creaky, [a=Neil Young]-like vocals and monolithic guitar leads becoming primary influences on the burgeoning grunge movement. The group temporarily disbanded in 1989, largely to allow the legendarily non-communicative singer the opportunity to dismiss bassist [a=Lou Barlow], who went on to form [a=Sebadoh]; in the meantime, [b]J Mascis[/b] sat in on drums with a series of bands, among them [a154053] and GobbleHoof, even producing the latter's eponymous 1990 LP. Upon re-forming Dinosaur Jr. in 1991, he scored Allison Anders' independent film Gas Food Lodging a year later, making a cameo appearance in the picture itself; he and Anders became regular collaborators in the years to follow, most notably on her feature Grace of My Heart. In the meantime, [b]J Mascis[/b] also produced records for pals including fIREHOSE (Mr. Machinery Operator) and Tad (Inhaler), and in 1996 issued his solo debut Martin and Me. After 1997's Hand It Over, Dinosaur Jr. disbanded. Keeping on with his personal musical eclecticism, [b]J Mascis[/b] and his new outfit [a293242] issued More Light in fall 2000. Featuring appearances from avant garde guitarist [a=Kevin Shields] and [a=Guided By Voices] vocalist Bob Pollard, the record was a fine return to form that excited Dinosaur Jr. fans who had been disappointed with his acoustic record. 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The band was formed by J Mascis (guitar and vocals) and his high school classmate Lou Barlow (bass guitar), following the break-up of their hardcore punk band Deep Wound. Shortly afterwards, Murph (Emmett Patrick Murphy, drums) joined them. \n\nThe band was originally called \"Dinosaur\", but changed its name following the release of its debut album Dinosaur in 1985, after a band called Dinosaurs Read more on Last.fm","content":"\nDinosaur Jr. is a rock band which formed in 1983 in Amherst, Massachusetts. The band was formed by J Mascis (guitar and vocals) and his high school classmate Lou Barlow (bass guitar), following the break-up of their hardcore punk band Deep Wound. Shortly afterwards, Murph (Emmett Patrick Murphy, drums) joined them. \n\nThe band was originally called \"Dinosaur\", but changed its name following the release of its debut album Dinosaur in 1985, after a band called Dinosaurs, featuring ex-members of Country Joe and the Fish and Jefferson Airplane, threatened them with legal action. (They still used the name Dinosaur on their albums until 1987 at the latest, and some copies of You're Living All Over Me still lack the \"Jr\").\n\nIn 1987, Dinosaur Jr. signed to SST Records on the recommendation of Sonic Youth, and with them released what is often considered their best album, You're Living All Over Me. Bug followed the next year, an album which, in the UK, was released by Paul Smith's Blast First Records (home to Sonic Youth, Big Black and Butthole Surfers). During this period Dinosaur Jr. became known for their very loud concerts. \n\nDespite not gaining much commercial success, the band has enjoyed something of a cult following. The success of singles Freak Scene and Just Like Heaven, and recommendations from the likes of Sonic Youth saw them signed by Warner Brothers. The signature Dinosaur Jr. sound is the melodic tunes saturated in layers of guitar noise and punctuated by J Mascis' elaborate, yet laconic guitar solos. They were a major influence on the up-and-coming band Nirvana.\n\nTensions ran high between Mascis and Barlow, and in 1989 Barlow was kicked out of the band. As a result, Barlow continued to work with his own band, Sebadoh. The two famously fell out on stage with Mascis attacking Barlow. Dinosaur Jr. subsequently became little more than a pseudonym for Mascis. He switched labels to Blanco y Negro in the UK, Warner/Sire in the US, with Green Mind (1991) being his first release in that deal.\n\nAfter Barlow left the band, Van Conner, from the Screaming Trees, played bass for at least one live show in 1990, and Donna Dresch, from Team Dresch played bass at least once live with the band in 1990.\n\nIn 1991, Mike Johnson joined Dinosaur Jr as full-time bass player. He was in the band for 1991's Whatever's Cool With Me, 1993's Where You Been, 1994's Without A Sound, and 1997's Hand It Over. \n\nMurph left the band in late 1993, after the Lollapalooza tour.\n\nGeorge Berz took over on drums, and drummed from 1994-1997. He was on Without A Sound, and Hand It Over. He later drummed for J Mascis + the Fog in 2000, 2001, and 2003.\n\nThrough the 90s, Mascis sometimes explored quieter and more tranquil shores than Dinosaur Jr. had in the 80s. The band formed part of the 1992 \"Rollercoaster\" tour. A package tour based on the successful \"Lollapalooza\". The tour featured The Jesus & Mary Chain, My Bloody Valentine & Blur. On the 1993 release, Where You Been, the opening track (\"Out There\") had an accompanying video and was aired on MTV for a short time. After 1994's Without a Sound and 1997's Hand It Over, Mascis began to release albums with the band J Mascis and the Fog.\n\nIn 2004, J Mascis regained the master rights to the first three Dinosaur Jr. albums from SST, and arranged for their reissue on the Merge label in early 2005. The reissues coincided with an announcement that the original lineup of J Mascis, Lou Barlow and Murph (Emmett Patrick Murphy) were reuniting for a summer tour. The success of this tour resulted in a new album entitled Beyond (2007) and single Been There All The Time. They are Lou Barlow's first recording with the band since 1989. The original line-up of Dinosaur Jr. has been touring extensively since 2005. They are currently on a world tour.\n\nOn February 20, 2009, Pitchfork Media announced that the band had signed with indie label Jagjaguwar, and their first release on the label entitled Farm was released June 23, 2009, to largely positive reviews. Read more on Last.fm. 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They became acquainted through the varied Milwaukee 'new music' scene and realized a common interest, not only music but also in escaping the boring reality of nine-to-five life. \n\nThey set about practicing and playing wherever and whenever they could Read more on Last.fm","content":"Die Kreuzen (prouounced Dee-Kroytzen) formed in mid-1981 by vocalist Dan Kubinski and guitarist Brian Egeness aka \"Herman,\" from Rockford, IL, and two from Brookfield, WI, bassist Keith Brammer and drummer Erik Tunison. They became acquainted through the varied Milwaukee 'new music' scene and realized a common interest, not only music but also in escaping the boring reality of nine-to-five life. \n\nThey set about practicing and playing wherever and whenever they could, and seizing every opportunity to broaden their horizons by playing out of town (i.e. Minneapolis, Chicago, Madison, Indianapolis). Their name was chosen specifically to avoid stereotyping, because \"no one knows what it means\". -- Keith Brammer \"The band's name is broken German for \"the crosses\" and was from a German Bible.\" -- Brian Egeness \n\nTheir first recorded output was two songs on Noise magazine's Charred Remains cassette compilation, followed by three on The Master Tape compilation LP. This and the ensuing press in Milwaukee and especially elsewhere led to the release in late 1982 of a 7\" on the Version Sound label, entitled Cows & Beer, the title being \"an in-joke on peoples' preconceptions of life in Wisconsin\". This proceeded to sell out two pressings of 1,000 apiece, and is incidentally a much sought-after collector's item, prompting them to undertake their first tour of the South and West Coast in the summer of 1983.\n\nUpon returning, they were greeted with the news that Touch and Go Records wanted to release an album, which for various reasons did not appear until July 1984. This 21-song self-titled LP then proceeded to sell upwards of 13,000 copies in the U.S. and Europe, and is still selling today. The release was followed by two years of repeatedly touring the States and Canada and gradually, through word of mouth and press of all sorts, spreading their name everywhere.\n\nGradually their songs were changing, their sound evolving and maturing. This was exhibited on their second LP for Touch and Go Records, October File, released in May 1986. Two more years of slow but steady songwriting and touring, helped along by positive critical response resulted in the release, in July 1988, of their third Touch and Go Records album, Century Days.\n\nProgress, variety and melody are the key words here, adventurous songwriting accented by diverse production and outside help from horns without losing the band's trademark drive and excitement. Attractive packaging, multiple formats (11 song LP, 12 song cassette, 13 song CD), international distribution and increased airplay helped Century Days do very well.\n\nAfter more extensive touring and various side projects, the band flirted with some new record labels but eventually released their fourth LP for Touch and Go Records in 1991, Cement. Of course, the band resumed touring in support of their new album.\n\nOn April 1, 1992, Die Kreuzen disbanded amid much conflict when guitarist Brian Egeness decided to pursue other interests. \"He had different things to do, a different agenda.\" Keith Brammer said. \n\nOfficial Websites\nOfficial MySpace Page\nOfficial Page at Touch and Go Records\n\"Counting Cracks\" The Die Kreuzen Online Archive Site\nBrian Egeness' Official website\nBrian Egeness on IMDB\nDecapitado Official Website\n Read more on Last.fm. 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