A huge return from a total icon. With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today.
A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.
+ The indie version is very limited and pressed on white vinyl.
+ Preorder No Home Record and we'll enter you into a draw to win a special limited edition 12” version of the new track ‘Sketch Artist’, backed with the previously released ‘Murdered Out’. These 12”s are limited to 500 worldwide and are individually hand-stamped with a bespoke design drawn by Kim.
It makes sense that this “American idea” (as Gordon says on the agitated rock track “Air BnB”) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless “Sketch Artist,” where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. “Even Earthquake,” perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

SYR系列第五张

This is NYC avant garde convergence at its finest. The idea of a meeting between Yoko Ono, Kim Gordon & Thurston Moore is so perfect, so obvious, the only shock is that it didn't happen earlier. Recorded in 2011 at Manhattan's Sear Sound, the album features lead vocals by Yoko, with backing vocals & guitars by Kim & Thurston. It's a wild collision of song-form, poetics, free-rock & classic glossolalic ecstasy. Yoko has not allowed herself to sound this raw since the earliest recordings of the Plastic Ono Band. There's a remarkably empathic & comfortable quality to the sound. The 3 communicate as though they'd been playing together forever.

《The Collective》可能是 Kim Gordon 欲喚起某種集體意識的媒介，她率先在開場曲〈BYE BYE〉中藉著平交道外不和諧的警示音，以咒語般的 Mumble Rap 唱誦了一串慾望清單，大膽跳過副歌段落，像逃離反烏托邦世界一樣呼嘯而過，將 No Wave 的叛逆霸氣展露無遺。這似乎也呼應著她曾對社會狀態的體察：「這是個沒人真正了解真相的時刻，事實不一定能動搖眾人，大家都有自己的立場，造成一種普遍的偏執感。」

身為傳奇另類搖滾樂團 Sonic Youth 的核心人物，Kim Gordon 在此輯中一如既往展示先鋒審美。你不會聽見 80 年代龐克與噪音搖滾的老生常談，而會被實驗嘻哈、電子等聲響的融合所驚豔。取材自作家珍妮佛 · 伊根的同名小說的〈The Candy House〉富有低傳真 Trap 的趣味，〈Trophies〉更是她對 Auto-Tune 的一次嘗試，而曲如其名的〈Psychedelic Orgasm〉，就像洛杉磯的末世幻象被施予 Cloud Rap 和 Power Noise 的詭譎魔法般迷幻。

Kim Gordon 在此作中成為製作人 Justin Raisen 巧手下的神祕噪音 rapper，也當起前衛的藝術家。她有一幅與專輯同名的畫作，那紅藍渲染的畫布上被開了近三十個 iPhone 大小的洞，象徵手機為人類開啟一扇扇傳播之窗的同時，也引發無盡空虛。與畫作調性一致的是，專輯也以 iPhone 作為封面，聽感上也調度手機上能刷到的流行樂元素，讓噪音美學、Trap 魔性節奏，恣意揮灑在以電吉他鋪展開的工業音場。

專輯選在國際婦女節發行，讓人對長期以音樂宣揚暴女龐克精神，並多次為性別議題撰寫《This Woman's Work》、《Girl in a Band》等書籍的 Kim Gordon，如何在年屆 70 歲時為女性發聲感到好奇。而這回她竟以〈I’m A Man〉為魯蛇著想，用自負、自憐的口吻傳達「我贏了戰爭，卻迷失了方向」(I won the war, but lost my way)，嘲諷男人渴望召喚眾神之王宙斯，卻又「沒文化水準」 (don't have a degree)，也「約不到妹」 (can't get a date) 的狂妄與悲哀，再度一展她寶刀未老的銳利，用她獨特聲響與信念在多由男性主導的樂界投下一枚震撼彈。

Kim Gordon’s vision of art and noise has come sharper into focus just as readily as it has changed—a paradigm of possibility that, four decades on, still feels like a dare. The adventure continues on the artist’s third solo album, PLAY ME, which will be released March 13 by Matador Records. The lead track ‘NOT TODAY’ is available now, accompanied by a short film directed by Rodarte fashion label founders and filmmakers Kate and Laura Mulleavy with director of photography Christopher Blauvelt. The song brings out a poetic tension in Gordon’s voice. “I started singing in a way I hadn’t sung in a long time,” she says. “This other voice came out.”
PLAY ME is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says of her continued collaboration with LA producer Justin Raisen (Charli XCX, Sky Ferreira, Yves Tumor). “We wanted to do it really fast. It’s more focused, and maybe more confident. I always kind of work off of rhythms, and I knew I wanted it to be even more beat-oriented than the last one. Justin really gets my voice and my lyrics and he understands how I work—that came forth even more on this record.”
In 2019, Gordon’s debut solo LP No Home Record proved she was attuned as ever to vanguard sounds, mixing avant-rap and footwork into her sonic conceptual art. The Collective, in 2024, was brick-heavy and even more daring, led by the tectonic industrial clatter of her packing-list-cum-rage-rap banger ‘BYE BYE’ and earning two Grammy nominations.
The fast-following PLAY ME processes, in Gordon’s inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life. But despite its frequent outward gaze, PLAY ME is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.

Kim Gordon's third album, 'PLAY ME,' is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says. “We wanted to do it really fast. It’s more focused, and maybe more confident."



The follow-up to 2024’s Justin Raisen-produced, two-time Grammy-nominated 'The Collective' processes, in her inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life.



Despite its frequent outward gaze, 'PLAY ME' is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.



“A lifelong radical still at the peak of her powers.” - New Yorker “A poet of modern life, offering abstract, spoken vocals that speak to both the banality and volatility of our world.” - New York Times

Kim Gordon's third album, 'PLAY ME,' is distilled and immediate, expanding Gordon’s sonic palette to include more melodic beats and the motorik drive of krautrock. “We wanted the songs to be short,” Gordon says. “We wanted to do it really fast. It’s more focused, and maybe more confident."



The follow-up to 2024’s Justin Raisen-produced, two-time Grammy-nominated 'The Collective' processes, in her inimitable way, the collateral damage of the billionaire class: the demolition of democracy, technocratic end-times fascism, the A.I.-fueled chill-vibes flattening of culture - where dark humor voices the absurdity of modern life.



Despite its frequent outward gaze, 'PLAY ME' is an interior record, one in which a heightened emotionality pulses through physical jams, rejecting definitive statements in favor of an inquisitiveness that keeps Gordon searching, ever in process.



“A lifelong radical still at the peak of her powers.” - New Yorker “A poet of modern life, offering abstract, spoken vocals that speak to both the banality and volatility of our world.” - New York Times