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Considering its artistic merit, and its relatively recent release date, SYR6 doesn't get discussed much around these parts.
From somewhere or other on the web:
...The recording begins with timpani tones so quiet that a cough peeps through in the opening minute before scattered and random percussion creeps in and nervous rustling slowly escalates the composition. An amplifier hum swells to introduce the performance's first major pattern - two chords repeating with some clarity atop a rhythmic accompaniment slowly gaining a feeling of order - that departs as quickly as it's recognized. Throughout the recording, many segments, typically no longer than a few minutes, develop and fade through brief repetition. After twelve minutes of directionless clutter, the guitarists launch into meandering and interweaving patterns that give the composition an increased sense of movement, even when the dynamics pull into restraint. As the stringed instruments cascade into a thunderous din, the chaos resumes, and the composition's ambient qualities are quickly engulfed by the familiar squeals and grinds that sonic experimentalists Thurston Moore, Lee Ranaldo and Jim O'Rourke are capable of conjuring.
...The second track, the shortest of the three, weaves industrial sounds as bassist Kim Gordon moans free-associative phrases and sounds in her monotone yelp.
...the final track, the longest of the three at twenty-seven minutes, briefly incorporates sampled noises and what sounds like a fire alarm to its constantly changing faces and releases a violent fury of fluttering, brushed snare drum, rapid-fire cymbal strikes and a wall of reverberating guitars. Unifying the entire performance is the underlying emphasis on free and occasionally structured percussion, which gains prominence (thanks to Tim Barnes and drummer Steve Shelley) aside the expected presence of Sonic Youth's guitar noodling...
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