But for Moore, “softer” does not mean “smaller.” Inflated by Beck’s airy production, Demolished Thoughts flows along in an array of layered chords and somber orchestral flourishes reminiscent of Nick Drake circa 1972. And though this is the product of a renowned guitarist striking out on his own, Thurston Moore isn’t out to boast about his guitar chops. As exhibited in his previous work, Moore’s style often relies on building texture rather than meticulous guitar solos.
“Circulation” finds Moore truest to his indie- punk roots. The track’s sharp guitar jabs, booming chorus and angst-ridden lyrics (“she’s not here to stay, she just came by to shoot you baby”) sound as if they’ve been plucked from any of Moore’s pre-millennial thrashers. Opening track, “Benediction”, is another instant classic — sweeping string arrangements, spacious guitar strums and a triumphant chorus are built up to reveal Moore’s irresistibly sentimental alter-ego.

Yet Demolished Thoughts is ultimately top-heavy with stand-out tracks, leaving the latter half frustratingly unremarkable in comparison. The hectic, deafening build of the two-and-a-half- minute “Orchard Street” drags aimlessly toward the dreary, hymn-sounding “Mina Loy.” The atmospheric guitar noodling on “Space” and “January” closes out the album pleasantly, but Moore’s insistence on concealing any trace of emo- tion dampens the lingering momentum of Demolished Thoughts’ first exceptional songs.

But Thurston Moore deserves some credit for stepping out of his comfort zone, and Demolished Thoughts offers enough memorable moments to reaffirm the significance of one of indie rock’s living legends. (7/10)

— Taylor Hogshead