Mixed or average reviews - based on 13 Critics

Critic score distribution:
  1. Positive: 2 out of 13
  2. Negative: 2 out of 13
  1. Sep 25, 2012
    YokoKimThurston feels more focused and risk-taking than some weekend distraction between friends. Sonic Youth have never shied away from releasing indulgent noise jams in the name of art for art's sake, but this album ranks above the best of their non-rock experimentation, and adds a new dimension, with both Gordon and Moore stepping back to serve as supporting noisemakers for Ono's one-of-a-kind voice.
  2. 40
    With more focus and restraint, there's no reason to think Moore, Gordon, and Ono couldn't have really run with their collaboration and made something great. Instead, YOKOKIMTHURSTON feels like an overly conceptual exercise. Maybe that's by design, but a little melody would have gone miles here.
  3. Oct 2, 2012
    The songs here are mostly ponderous, nine-minute long epics with very little in the way of song form, melody, or musical interest.
  4. Oct 4, 2012
    [The album] is disappointing, but not because it's unmusical or masturbatory or boring, although it is sure to be dismissed as all these things. On paper I love the idea of the musical direction of the record – there are just some insurmountable problems with the execution of it.
  5. Sep 28, 2012
    YOKOKIMTHURSTON is not so much a decibel-bursting showcase for the Queen of Noise and her unruly understudies as a conversation between intimates speaking in tongues and tangles-- a voyeuristic glimpse into a private, discomfiting exchange.
  6. Jan 10, 2013
    Essentially, the album cannot live up to that expectation, because they don't seem to be trying hard, more in love with the fact that they're making an album together.
  7. Q Magazine
    Oct 23, 2012
    It's less primal scream, more yawn. [Nov 2012, p.112]
  8. Sep 25, 2012
    [YOKOKIMTHURSTON] distills the kind of audio radicalism these three have channeled into pop music for decades.
  9. Mar 28, 2013
    YOKOKIMTHURSTON displays an issue that affects several contemporary aesthetic forms when they become institutionalized: no matter how transgressive, shocking, or committed an artistic statement can be, it still remains enclosed within the safe, whitewashed, antiseptic confines of the art gallery under the sheltering halo of “high-culture” values, for the admiration of a see-but-do-not-touch enlightened elite.

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