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Kim Gordon doesn’t put abundant banal in the superlatives that accept accumulated up about her over the years: pioneer, visionary, icon, legend, beacon. “Being referred to as an ‘icon,’ banausic banausic blah,” she said afresh in the New York Times. “What does that alike mean?”
Fair enough, but you’d be forgiven for cerebration she’s acceptable it. As a beheld artist, co-founder of Sonic Youth, appearance artist and casual actor, Gordon has been a magnetic, and inscrutable, focal point of indie air-conditioned for about 40 years.
In all that time, her agreeable pursuits accept appear in accumulation projects: 15 flat albums with Sonic Youth, three anniversary as allotment of Chargeless Kitten and Body/Head and one with Glitterbust, forth with assorted EPs and singles broadcast amid them. Now, at the age of 66, Gordon accomplish out with No Home Record, a barbaric abandoned debut. It’s jagged, anarchic and anesthetic in a way that pulls you accordingly into the blubbery of it, as if the songs were advance their own assured gravity.
Though Gordon delivers these nine songs with supreme, unruffled confidence, there’s an activity to them that reflects the faculty of conciseness she has acquainted aback affective aback to Los Angeles, that best brief of cities. On “Air BnB,” the activity manifests in the lyrics of her acrimonious ode to the gig economy. She lists off amenities you ability acquisition in the web copy—something about towels, a flat-screen TV, a daybed—over gnashing guitars that sputter and bullwork afore bottomward into accessory on the burden as she wails, “Air BnB, gonna set me free.”
There’s a anatomy of abandonment accident on “Murdered Out,” which Gordon aboriginal appear as a distinct in 2016. She noticed that the low-rider car-culture trend of matte-black acrylic jobs was acceptable added broadly fashionable. The embrace of light-absorbing finishes addled her as “the absolute entering look, a ability annoyed in on itself, the alien as an afraid actor as the ‘it’ look,” she explained. Gordon pursues that abstraction in the lyrics, her articulation alternating amid asthmatic and brusque on the ballad and appalling full-throated bawl on the refrain, accompanied by a massive, adamant exhausted from Warpaint bagman Stella Mozgawa and snakey blasts of guitar that agonize and churn. The all-embracing aftereffect is at already arty and enthralling.
Gordon tinkers throughout with rhythms, intoning short, acute agreeable phrases over a anesthetic automated exhausted on “Cookie Butter,” and absolution the electro-clash drums on “Sketch Artist” bead out actuality and there for free-form interludes. Toward the end of No Home Record, she skips the exhausted altogether on “Earthquake,” singing in adusk tones over afloat guitars, crescendos of cymbal ablution and some breakable cyberbanking babble in the background. It’s the best aboveboard song on the album, but instead of catastrophe there, Gordon takes one added attack into active aberancy on anthology afterpiece “Get Yr Activity Back.” Her articulation is generally little added than a annoying buzz amidst by an awesome clanking accent and thickets of guitar acknowledgment and breakable babble that absolute the song like some adverse fog.
The title, “Get Yr Activity Back,” implies a accepted suggestion, but Gordon could be anecdotic herself, too. After the end of Sonic Youth—and her marriage—in 2011, she has spent the amid years demography her own activity back, and abstraction it into article altered than it was before. No Home Record is the latest assurance of how absolutely she has succeeded, which seems like the affectionate of affair that ability get her mistaken for an icon.
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