Thurston Moore is back with some new ideas on his ninth solo release, saying that he feels like a perennial apprentice in the world of music.
“There’s something very elegant to it—the fact that the helmet sort of denotes a sense of military perfection, but that it has tuning forks on it as opposed to any sort of emblem of aggression,” he tells me, Zooming in from his flat in London. “If music is, as Albert Ayler would say, the healing force of the universe, then so is the tuning fork. I thought it was just a thing of beauty.”
It also dovetails with a theme that runs through Flow Critical Lucidity, an album that Moore describes as “an expression of hope.” But characteristic of the Sonic Youth guitar icon, there are additional layers at work here. One would be that Nares is, like Moore, an alumnus of the downtown Manhattan no-wave scene, having played guitar in an early iteration of James Chance and the Contortions. “It felt right to use one of Jamie’s pieces, because we kind of came up together through this musical micro-community in New York City,” Moore says.
Another layer, I suggest, might be that the many tuning forks are a self-referential poke at Moore himself, who has made something of a career out of deploying myriad out-there tunings in the service of some of the most innovative and influential music of the past 40 years. “So, they’re ‘alternative-tuning tuning forks,’” Moore reasons, then smiles. “Maybe I could have written C–G–D–G–C–D on it.” Which is, in fact, the actual primary tuning he employed for his guitar parts throughout Flow Critical Lucidity.
Why this tuning? “I like it,” Moore says, simply. “I find it to be a good one to write in, and I’ve gotten used to it. So it’s been a mainstay for the last six years or so, and on the last couple of albums. I actually feel like I need to put it to rest a bit, because that low string tends to create this kind of droning low C on almost every song now. Maybe I’m getting a little too comfortable.”
You wouldn’t know it from Flow Critical Lucidity. Moore’s ninth solo album overall, the collection is an enchanting, transportive, and deeply creative work: There’s cadenced spoken word over clanging, chiming soundscapes on “New in Town”; gorgeous guitar and piano commingling in “Sans Limites” (with Stereolab’s Laetitia Sadier dueting on vocals); feral, percussion-heavy rhythms pulsing through “Rewilding”; a no-wave callback in the jagged four-note guitar stab of “Shadow”; hypnotic, liquid guitar lines punctuating “The Diver.” There are electronics courtesy of Negativland’s Jon Leidecker, lyrics penned largely by Moore’s wife and collaborator, Eva Prinz (working under the pseudonym Radieux Radio), and, on several tracks, extensive use of prepared instruments, such as guitars with objects placed under or on the strings to modulate their tone. It is an album that is varied and vibrant, imaginative and idiosyncratic. It is, Moore has said, one of his “favorite” records in his solo catalog.
On Flow Critical Lucidity, Moore recorded with guitarist James Sedwards, bassist Deb Googe, keyboardist Jon Leidecker, and percussionist Jem Doulton. The record was mixed by Margo Broom.
“If music is the healing force of the universe, then so is the tuning fork. I thought it was just a thing of beauty.”
Though somewhat sprawling in execution, Flow Critical Lucidity came together in a uniquely focused manner, with Moore and Prinz settled at an artist residency near Lake Geneva. “They allow people to stay there for six weeks to six months to sometimes a couple years,” Moore says. “So I asked if I could lock myself away there and write—and specifically to write a new record. I had a couple guitars, a couple small amps, and a little Zoom digital recorder. Eva would throw lyrics in front of me and I would construct pieces around them.”
When it came time to record, Moore assembled his current band—Leidecker, former My Bloody Valentine bassist Deb Googe, guitarist and multi-instrumentalist James Sedwards, and percussionist Jem Doulton—at Total Refreshment Centre (“a funky little studio”) in his adopted home city of London. A key architect at this stage was Margo Broom, who mixed the material. “She was really able to put it in a place that I don’t think anybody else could have so successfully,” Moore says. “For instance, while she was mixing, I was talking to her about how to treat my vocals a bit, because I never liked my vocals so much—I’m kind of key-challenged when I sing. But Margo was able to finesse that. She said to me, ‘I’ve been listening to your vocals since I was 16 years old, so I know what I’m doing here!’ I was impressed by that.”
Moore, now 66, often records with his tried-and-true alternate tuning, C–G–D–G–C–D.
Guitar-wise, Moore continues, “Margo was able to create a lot of space, which is something that I’ve never really felt has happened so successfully, even all through Sonic Youth, because of the desire to always have a lot of guitar layers happening in the songs. But she was able to find definition there, even where there was a lot of mass information going on.”
To be sure, there’s plenty of characteristic Moore guitar work on Flow Critical Lucidity, particularly in the extended instrumental sections of songs like “The Diver” and the gently chugging “Hypnogram.” But as far as the actual gear he used in the studio, Moore kept things streamlined—one guitar, one amp.
“It was all Fender,” he says. “I used an early, pre-CBS Jazzmaster, a ’62, I think, and a Hot Rod DeVille.” Moore is, of course, a longtime Jazzmaster aficionado—in the early days of Sonic Youth, he says, “We started acquiring Jazzmasters before they became so collectible. You could go to the guitar stores in midtown New York and find one for a few hundred dollars. We had been using Harmonys and Kents and Hagstroms—whatever we could get our hands on—and the Jazzmasters and Jaguars were a step up. I gravitated more towards the Jazzmaster because the neck was slightly longer than a Jaguar’s, and for my height it worked nicely. I also liked other aspects of it, like being able to investigate behind the bridge more readily than with just about any other guitar.”
“I had a couple guitars, a couple small amps, and a little Zoom digital recorder. Eva would throw lyrics in front of me and I would construct pieces around them.”
Moore has many Jazzmasters, including one that he says is “one of the first ’58 production models,” and that Sedwards has been using extensively. But the Jazzmaster that Moore is playing now “has been my go-to for the last couple of albums. And a lot of that was defined by the one I played previously getting stolen. And then one previous to that getting stolen, too. So the record is all this guitar, and it’s all, I believe, in that same [C–G–D–G–C–D] tuning.”
Thurston Moore's Gear
Moore became famous as co-guitarist and one of three vocalists in Sonic Youth, seen here performing in 1991.
Photo by Ken Settle
Guitars
- Circa 1962 Fender Jazzmaster, tuned to C–G–D–G–C–D
- Circa 1958 Fender Jazzmaster (used by James Sedwards)
Amps
- Fender Hot Rod DeVille 410 III
Effects
- Pro Co Turbo RAT
- Dunlop Jimi Hendrix Octave Fuzz
- Xotic EP Booster
- Electro-Harmonix Metal Muff
- Electro-Harmonix Cathedral Stereo Reverb
- TC Electronic Hall of Fame
Strings & Picks
- D’Addario NYXL (.012–.054)
- Dunlop .60 mm
Except for one song, that is. “‘New in Town’—I couldn’t even tell you what the tuning is,” Moore admits. “That song will not be played live, because it just can’t be.” The reason why, he explains, is that he performed it on prepared guitar, altering the Jazzmaster’s sound by placing objects under or between the strings and retuning the instrument in real time.
“The idea of using guitars that are extended with different implements is something that obviously I’ve been working with since the early ’80s,” he says. “But ‘New in Town’ was probably the most expansive effort of it in terms of creating a song where the preparation of the guitar was in a place of improvisation while we were recording. On that song, I’m actually moving the strings around with the tuning pegs to a point where I’m not really notating what I’m doing, and I’m furthering that by putting different implements between the strings—not just under the strings and in front of the fretboard, but actually sort of woven within the strings. Like, maybe sort of midway on the neck and then over the pickup area, and then playing in the middle between the two.”
“I never liked my vocals so much—I’m kind of key-challenged when I sing. But Margo [Broom] was able to finesse that.”
Some of the types of objects he used were “a small, cylindrical antenna; a drumstick,” Moore continues. “And then I’m picking between those two, or on either side of them, and finding a rhythm or a motif. And I’m doing this while James is playing piano and Jon is processing it and moving it around through his electronics. We recorded that, and then I took it and I cut it up and edited it to create the composition. So the actual performance—I don’t think I’d be able to reenact it again.”
For Moore, the structuring of the track was as much a creatively fulfilling endeavor as the actual performance of it. “I find that, for me, a lot of the experimentation that has rigor is in that part of it, rather than in the expanded technique on the guitar,” he says. “I feel like that’s something anybody can do, and that a lot of people do do. I mean, when I was younger and I brought the drumstick out, and I was swiping it across the strings, and it’s going through a distortion box, it sounded really cool, but it also looked really cool. I knew that there was something very performative about it. But the composition has to have value beyond the oddity of what you’re doing.”
“That song will not be played live, because it just can’t be.”
He laughs. “You know, I’ve seen comments on social media, like, ‘Playing guitar with drumsticks is stupid!’ Which I thought was a really great comment. Somebody was just not down with the program on that one. I was like, ‘Right on!’”
Which brings up a question: Does Moore immerse himself at all in the online guitar world? Is he, like the rest of us, endlessly scrolling through 30-second clips of bedroom guitarists performing jaw-dropping feats of 6-string technical facility?
The answer is, sort of.
After producing several albums with Sonic Youth, Moore began releasing solo works in 1995 with Psychic Hearts. This photo was taken in 2010.
Photo by Mike White
“I’m in that algorithm, so I will get these interesting tutorials from, like, hyper-tapping kinds of players,” he says. “And I will sometimes watch them, because I’m actually very enamored with high-technique guitar players. Even though I don’t really consider myself a high-technique guitar player—I find myself to be a very personalized-technique guitar player. And I’m okay with that.
“But I do like it,” he continues. “Whether it’s Hendrix or some guy sitting on his bed and shredding. Or someone in front of their laptop decoding a Zeppelin thing, like, ‘This is how you play “Misty Mountain Hop” correctly.’ To me that’s really interesting to see, because I love Jimmy Page. I’m never going to play like Jimmy Page, but to have someone decode it and then share that with the world, it’s like, ‘Thank you.’ If I had more time on my hands, I would tune a guitar to traditional tuning and sit down and learn it.”
“I knew that there was something very performative about it. But the composition has to have value beyond the oddity of what you’re doing.”
Most people, of course, don’t usually have to first tune their guitar to standard before they play. But then, Moore is not most people. “I don’t think I have a single guitar in that tuning,” he admits. “And it’s funny, because [Dinosaur Jr. singer and guitarist] J Mascis used to come over, and he’d tune all my guitars to traditional tuning. And it was like, ‘Stop doing that!’ you know? Would drive me crazy.”
At the end of the day, Moore’s intention is to remain creatively open. Even while he is in the throes of the album cycle around Flow Critical Lucidity—“I’m still coming to terms with what we did on this record,” he says—he’s already looking forward to what might be next. “I have it in mind, but I couldn’t say what it is. Sometimes I think I want to make a brutal, harsh, noise-wall record. Or maybe something that’s a super, super-dark metal record. Because I love that kind of stuff.”
There’s still a lot of ground, and music, to explore. “It’s all live and learn,” Moore says. “Even at 66 years old, I still feel like I’m in some place of apprenticeship with a lot of this. I don’t really feel settled. But I do feel more confident, that’s for sure.”
YouTube It
Thurston Moore, with Jazzmaster and Hot Rod DeVille, performs the Flow Critical Lucidity track “Hypnogram” live in Munich in 2023 in this fan-captured DIY video.
From left to right: Jonas Stein, Jemina Pearl, John Eatherly, and Nathan Vasquez started out as Be Your Own Pet when they were all still in high school.
Photo by Kirt Barnett
When it did eventually happen, the Nashville-based band’s reunion was swift. In late 2021, they met up at an event at Third Man Records (which is owned in part by Pearl’s husband, Ben Swank), after having loosely kept in touch over the decade or so prior. They had one rehearsal, Jack White caught wind of it—and they agreed to join him on a couple weeks’ worth of dates on his Supply Chain Issues Tour in spring 2022. And just like that, they were back.
Be Your Own Pet’s third full-length album, Mommy, was released on Third Man in late 2023. It’s their first record in 15 years, following 2008’s Get Awkward. The songs are boisterous yet tempered, at times charged, at times playful, and always joyous in their freedom of expression.
Erotomania
“It can be kind of easy to see through something that doesn’t feel totally authentic,” comments Stein on what makes a great punk band. By those terms, at the very least, Be Your Own Pet is great. On the new record, Pearl’s authenticity shines in lyrics that address her experience living with bipolar disorder (“Bad Mood Rising”) and sexual assault (“Hand Grenade”). Underpinning those sensitive, personal subjects, Stein’s insistent guitar work pushes them further to the forefront with the urgency they deserve.
The explosive, broiling Mommy poises itself like a zealous boxer, delivering one punch after the next in controlled bursts of enthusiasm. While the band picks up where it left off in their way of expertly packaging tumultuous—once teenaged—emotions into zipping, neatly clamoring arrangements, they’ve also become more articulate in their own musical language, going from pouring out raucous, nervous energy to fusing together beats, screams, and strums that are more confident than they are angsty.
On Mommy, Be Your Own Pet displays a new sense of confidence, channeling an angst that slightly departs from the energy of their teenage years to focus on more mature issues.
But don’t worry—they are still angsty. On the opening track, “Worship the Whip,” Stein switches between steady, supporting downstrokes to matching the vocal melody with a knifelike lead, as Pearl cries out with insolent commentary on right-wing authority figures. 'Goodtime!” is a lament on becoming an adult with responsibilities, especially as a punk—which Stein fleshes out with sharp, clever riffage. And on “Bad Moon Rising,” Stein savvily rides his overdrive back and forth between mild and heavy, paralleling Pearl’s shifting, riotous intensity. All the while, Vasquez and Eatherly act as bellows to the blaze, serving the songs with relentlessly energetic and intuitive rhythmic backing.
“In a very funny, positive way, there was always a little bit of hazing on one another, and all that stuff came right back.”
The first time Be Your Own Pet played together, Stein was around 15 years old. “I definitely did not have my driver’s license yet,” he says. “We had to get picked up by our parents to do rehearsals and stuff. Then shortly after, I was the first person to get my license, so we’d all pile into my car and go be rascals around town and play music when we could.”
It wasn’t long before the band gained traction—they released a demo CD, and soon after played South by Southwest, eventually signing to Thurston Moore’s Ecstatic Peace label to release their self-titled debut in 2006. What followed was a somewhat chaotic musical career that, due to the pressures of the industry, ended just a handful of years later. When they reunited, it was their first time seeing each other in person since their disbandment.
“I was always more inspired by the guitar players who can make two or three notes sound really badass.”
“Thirteen years sounds like a long time, but it did not feel like it’d been 13 years after we got back in the room together,” says Stein. “It just felt like meeting back up with your childhood best friends or your siblings, like ‘Oh, we know each other. We don’t have to try to figure each other out again.’ Aside from the musical chemistry, even the humor and personality traits that we all once carried…. They still carried over. In a very funny, positive way, there was always a little bit of hazing on one another, and all that stuff came right back.”
When Be Your Own Pet rehearsed together in late 2021, it was the first time they’d all seen each other in person in 13 years.
Photo by Angelina Castillio
Despite how quickly they fell back in step, a lot had also changed, but in a good way. The band had grown as musicians from the other projects they’d pursued over the years: Pearl released a solo album that featured Iggy Pop, Eatherly played with a handful of successful acts, and Stein fronted the band Turbo Fruits and built a career in DJing. “Coming back and doing it all again just felt like we were on performance enhancers,” says Stein.
During their time apart, Pearl also learned how to play guitar, which now enables her to bring more arrangement ideas to the rest of the band than her past, mostly lyrical contributions. “She’s been able to bring some really cool ideas that show up very barebones and rudimentary, which has been really nice because the boys are able to reconstruct and enhance them,” says Stein, referring to himself, Vasquez, and Eatherly. Compared to how they worked together when they were teenagers, today, they’re more comfortable with giving each other constructive criticism and feedback, and are able to come to agreements more easily. The “greater good” and what works for a song has taken priority over their egos and preferences as individuals.
But since the band was created when its members were in their formative years, there is still a subtle but “goofy pecking order,” says Stein. As the two oldest of the group, Stein and Pearl have always borne the “older-sibling responsibilities,” and more recently, Pearl has taken on the largest workload, he says. “She’s kind of wearing the crown in all this.”
Jonas Stein's Gear
While soloing, guitarist Jonas Stein, who’s inspired by bands like MC5 and Buzzcocks, either sticks to pure noise or uses as few notes as possible.
Photo by Jim Summaria
Guitars
- Customized Epiphone SG
- Customized Gibson SG
Amps
- Live: Fender Blues DeVille 212
- Studio: Peavey Decade
Effects
- Fulltone Full-Drive
- Electro-Harmonix Nano POG
- Generic wah
Strings & Picks
- D'Addario Nickel Wound (.011–.050)
- Dunlop Tortex .6 mm
Stein admits that when Be Your Own Pet started playing together again, he hadn’t played guitar for about six years, as he’d been spending most of that time focusing on DJing. So, when the band booked their dates with Jack White, he decided to invest in a new axe. He purchased a white Epiphone SG with the intention of hot-rodding it—and brought it to Dave Johnson of Scale Model Guitars in Nashville. He described to Johnson what he wanted the guitar to sound like, and Johnson went ahead with modding. “I just love something that breaks up pretty easily,” says Stein. “I don’t like my guitars to be too bright. I like them to be sort of easily distorted, really easy to play, and warm-sounding.”
Johnson gutted the electronics, adding Seymour Duncan humbuckers and simplifying the knob configuration (from four to two), changed the tuning pegs, replaced the nut, and put a custom Be Your Own Pet graphic over the body. Stein also plays a Gibson SG that Johnson modded years ago, which has an American flag graphic on it to resemble Wayne Kramer of MC5’s guitar. The pickups in the Gibson are stock. “I really like it; it’s kind of a darker, heavier tone,” Stein explains.
Live, Stein likes to play through a Fender Blues DeVille, but in the studio, he goes for “the weirdest, craziest, shittiest, fanciest-sounding amp there is.” For Mommy, he ended up recording a lot on a Peavey Decade. He explains how the amp rose to popularity after Josh Homme divulged that they were his “secret weapon” on the Queens of the Stone Age episode of the documentary series Watch the Sound with Mark Ronson. “These tiny little Peavey amps used to be like $40,” says Stein, “but now that the word is out there, they’re going for like over $1000 apiece.”
There are fiery leads and riffs on the album, but not solos in the traditional, elaborately improvised sense. As Stein explains, that’s never really been his speed. “I really took to the MC5 when I was a teenager. I liked the messiness and the imperfections of their playing. It made me feel better about myself as a guitar player because they were never perfect.
“I was always more inspired by the guitar players who can make two or three notes sound really badass and less focused on the players that were really well-versed in music theory and could play circles around everybody else. I was more into the energy that I would hear from a two-note Buzzcocks solo.”
This live performance shot was taken during the first phase of Be Your Own Pet’s career, when they were still teenagers.
Throughout the album, Stein captures that energy by bridling it in minimalist, yet galvanized, passages. Sometimes, that means a few measures of pure noise, à la Sonic Youth, heard on “Erotomania” and “Never Again.” Alternatively, on “Hand Grenade,” he builds a triumphant arc that perfectly suits the song’s impassioned, empowering message. And over the “Psycho Killer”-reminiscent groove of “Rubberist,” he carefully unravels a series of spacious phrases that climb over the steady bassline and eerie crowd vocals. His approach to that song in particular was influenced by his experience as a DJ, where he’s immersed himself in disco, Italo disco, funk, and dance genres.
Stein describes “Rubberist” as featuring “more time and space and less full-on riffage.” His disco familiarity comes into the songwriting process in terms of “knowing when to bring the guitar down, to let other things shine a little bit more, let the bass shine, let the vocals shine, let the drums and bass shine together. I think just being around more dynamic music, like some 8-minute deep-cut disco tracks, has shaped the way I would look at writing a song today.”
“I started from pretty close to beginner status. But I think that in itself is pretty punk rock.”
Citing Giorgio Moroder, Nile Rodgers, and Gino Soccio as influences, Stein shares, “I grew up mostly on punk rock and rock ’n’ roll and I was always like, ‘Disco sucks,’ ’cause that was always the theme. But listening to disco music and classic dance music from the early ’70s to early ’80s has been really refreshing for my ears. It’s so much different from what I was used to playing in all the bands I played in.
“I was on the tail-end of, you had to pick a clan and stick with them,” he shares. “In the ’80s, you were either a punk rocker, or a metalhead, or you went to discos. You couldn’t really cross over. But now, I feel like we’ve entered an age, probably because of the internet, where everything’s so immediately at your disposal that you can like anything you want and everything you want, and it’s okay.”
Stein was just becoming a musician when the world was in the midst of entering that age. He grew up with a dad who worked in the music industry, and while he was never “force fed” into learning an instrument, the opportunity was always there. When his parents did eventually put him in guitar lessons, he ended up hopping from guitar to drums to bass and back to guitar—which then, of course, led pretty quickly to him performing. “I probably, for certain actually, started playing in bands before I had the skills to play in bands.”
When it all began, he says, he strung his guitar with just the bottom four strings. He was mostly playing power chords at the time, and the other strings just got in the way—but as the band started getting more shows, his playing had to catch up to where he was as a performer. “I started from pretty close to beginner status,” he says, looking back. “But I think that in itself is pretty punk rock.”
Be Your Own Pet @ SXSW - 03/15/2023 - Mohawk, Austin, TX
In a performance at SXSW 2023, Be Your Own Pet rips through two tunes, digging in with unconventional arrangements and raw punk spirit.