"I never go back and listen to the recorded document. The thrill comes when the balance can be attained. Everyone in the room can have a shared, communal rock experience"
About this Quote
Moore is describing rock not as a product but as a temporary social contract: a roomful of people agreeing, for one night, to believe in the same wave of sound. His refusal to “go back and listen” isn’t anti-craft so much as anti-museum. A “recorded document” turns the messy, negotiated present into evidence, something you can audit later. Moore’s thrill lives earlier than that, in the moment when a band, a PA, and an audience solve the same problem at once: how loud is loud enough, how chaotic is too chaotic, where does feedback stop being accident and start being language.
The key word is “balance,” which quietly signals discipline inside what Sonic Youth fans often mythologize as pure noise. Balance isn’t just levels on a board; it’s an ethical stance. It implies listening across the room, leaving space for others, shaping intensity so it can be shared rather than hoarded by the stage. That’s the subtext: rock’s supposed rebellion only matters if it’s legible to a crowd, if it can be felt in common.
In context, Moore comes from a scene that treated live performance as the real artwork and recordings as snapshots, often compromised by budgets, studios, or industry expectations. Calling the show a “communal rock experience” pushes back against the solitary, headphone-era consumption model. He’s arguing for presence over replay, for a music culture built on friction, risk, and collective attention - the stuff you can’t archive without killing a little of its electricity.
The key word is “balance,” which quietly signals discipline inside what Sonic Youth fans often mythologize as pure noise. Balance isn’t just levels on a board; it’s an ethical stance. It implies listening across the room, leaving space for others, shaping intensity so it can be shared rather than hoarded by the stage. That’s the subtext: rock’s supposed rebellion only matters if it’s legible to a crowd, if it can be felt in common.
In context, Moore comes from a scene that treated live performance as the real artwork and recordings as snapshots, often compromised by budgets, studios, or industry expectations. Calling the show a “communal rock experience” pushes back against the solitary, headphone-era consumption model. He’s arguing for presence over replay, for a music culture built on friction, risk, and collective attention - the stuff you can’t archive without killing a little of its electricity.
Quote Details
| Topic | Music |
|---|---|
| Source | Help us find the source |
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