»In the realm of radiant noise, none can outdo Thurston Moore. A lanky, shaggy-haired, eternally high-schoolish figure, he has been a mainstay of Sonic Youth since 1981, and before that he played in the minimalist electric-guitar orchestras of Glenn Branca. At Bang on a Can, he presented two conceptual works, "Stroking Piece #1" and "Pelvic Noise." The first of these re-created, with the help of the All-Stars, the hazy melancholia of Sonic Youth classics like "Schizophrenia." In the second, an homage to the Fluxus movement, he was joined by his wife, the bass player Kim Gordon. The two slowly walked toward each other from opposite ends of the stage, their amps cranked up to such an extreme that the tiniest movement set off caterwauling vibrations. Eventually, the couple met and embraced, as did the guitars. The piece managed to be both touching and terrifying–touching because it was a kind of lovers’ ritual, and terrifying because the noise approached potentially ear-wrecking levels as the bodies joined.«

The New Yorker über Bang on a Can.