Thurston Moore’s solo catalogue contains moments of frenzied abstraction. An artist whose stance seems to linger at the cutting edge, his continuous lean towards the ground-breaking can result in all-out cacophony, a true student of noise and extremities.
‘Screen Time’ steps away from this, an album of quiet beauty and frazzled nerve-endings, a series of devoutly minimalist constructions that aim to reflect the introspective inertia that came with lockdown. Constructed in 2020, it’s a project marked by frailty, but one that continually longs towards beauty.
‘The Station’ finds the guitar at its most frost-like, the note-flurries and chord-clusters almost percussive in their approach. Elements of John Cage and Cecil Taylor permeate the instrumentation, with Thurston’s thirst for abstraction matched to an incisive use of space. ‘The Town’ is an intriguing, cyclical venture, while ‘The Home’ – with its more developed, almost Baroque template – carrying a subtle promise of joy. (SOURCE CLASH MUSIC)