Sonic Youth ‎– A Thousand Leaves

Label:
DGC ‎– DGCD-25203
Format:
CD, Album
Country:
Released:
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Credits

Notes

Recorded 1997/98 NYC. Mastered at Masterdisk NYC

"Hamster Girl" cover art courtesy of Jessica Fredericks Gallery, NYC. Collection of Randall Kelley.

Published by Sonik Tooth, BMI

©℗ 1998 Geffen Records, Inc

Barcode and Other Identifiers

  • Barcode (Text): 7 2064-25203-2 1
  • Barcode (Scan): 720642520321
  • Matrix / Runout: 1088 D123123 C80721-23 A
  • Mastering SID Code: IFPI L385
  • Mould SID Code: IFPI 6100

Other Versions (5 of 35) View All

Cat# Artist Title (Format) Label Cat# Country Year
GEFD-25203 Sonic Youth A Thousand Leaves(CD, Album) Geffen Records GEFD-25203 Australia 1998 Sell This Version
DGCD-A-25203 Sonic Youth A Thousand Leaves(CD, Album, Promo) DGC DGCD-A-25203 US 1998 Sell This Version
GED 25203, UNIFD-5142 Sonic Youth A Thousand Leaves(CD, Album) Geffen Records GED 25203, UNIFD-5142 South Korea 1998 Sell This Version
DGCSD-25203 Sonic Youth A Thousand Leaves(CD, Album) DGC DGCSD-25203 Canada 1998 Sell This Version
3296 Sonic Youth A Thousand Leaves(Cass, Album, Unofficial) Music World (2) 3296 Russia Unknown Sell This Version

Recommendations

Reviews Show All 3 Reviews

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reediscs

reediscs

February 6, 2017
Definitely the most potent of the post-Dirty Sonic Youth records.
dedchicago

dedchicago

June 10, 2016
Great record! Not perfect. But that's the crux of this band. Self conscious lyrics. Ever evolving intellectual progressions. It's heady and precisely plotted. Nice pressing, sound is very good. Sonic Youth can draw some major Velevet Underground comparisons off of this one and in the best way possible.
he_is_me

he_is_me

February 7, 2008

I really have a soft spot for this album. It surely isn't the harsh groundbreaking noise of yore, nor the hardcore-tinged tight precision (or near-precision) of the early 90s.

"A Thousand Leaves" rather deals in a form of sonic beat poetry (no surprise a song is dedicated to Allen Ginsberg), long soundscapes and freely evolving structures, that might be called "jazz" if not played on electric guitars.

As lyrics go, roles were by 1998 clearly defined, Kim bringing in the feminism and the politics, Lee the darker streak of experiments, while Thurston lights up the best songs (IMHO) with his words of ever-lasting teenage vitality.

This is no noise-pop-by-numbers though, just a well-crafted body of work by a band confident in their individual and mutual qualities.

Hope I'll feel this way when I'm forty!