Chelsea Light Moving (album)
| Chelsea Light Moving | |
|---|---|
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| Studio album by Chelsea Light Moving | |
| Released | March 5, 2013 |
| Recorded | 2012 at Sonelabel in Easthampton, Massachusetts |
| Genre | Noise rock, punk rock, indie rock |
| Length | 49:11 |
| Label | Matador |
| Producer | Justin Pizzoferrato |
| Singles from Chelsea Light Moving | |
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| Professional ratings | |
|---|---|
| Aggregate scores | |
| Source | Rating |
| Metacritic | 77/100 |
| Review scores | |
| Source | Rating |
| Allmusic |    |
| The A.V. Club | B |
| Consequence of Sound | |
| Drowned in Sound | 8/10 |
| Los Angeles Times | |
| NME | 7/10 |
| PopMatters | 7/10 |
| Pitchfork Media | 6.8/10 |
| Spin | 8/10 |
| Tiny Mix Tapes | |
Chelsea Light Moving is the debut studio album by the American noise rock band Chelsea Light Moving, released on March 5, 2013 on Matador Records. Recorded across two short sessions in Easthampton, Massachusetts with producer Justin Pizzoferrato in mid-2012, the album features a form of alternative and experimental rock that the band dubbed "Burroughs rock" and includes references to writers, avant garde artists, the 1960s counterculture movement and New York.
Upon its release, Chelsea Light Moving and its three singles—"Burroughs", "Groovy & Linda" and "Frank O'Hara Hit"—received positive critical acclaim. The album charted in Belgium and the United States, peaking at number 12 on Billboard's Heatseekers Album Chart. In support of its release, the band embarked on an international tour.
Chelsea Light Moving was recorded "across two quick fire sessions" at Sonelab in Easthampton, Massachusetts in the middle of 2012. The sessions were produced and engineered by Justin Pizzoferrato, who later mixed the album. According to vocalist and guitarist Thurston Moore, a number of additional songs, including a song titled "No Go", were considered for recording along with the album's ten tracks but "the hard part was choosing an album's worth of tracks" to record during a process he referred to as "short [and] efficient". The rehearsal sessions, according to Moore, "paid off in a polished sound with a strong sense of ensemble" and with the exception of a short number of guitar and vocal overdubs, the album was recorded live, as opposed to the conventional multitrack recording process. The album was recorded entirely on analog equipment.
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