Excerpt taken from NPR
Artists make the best cultural critics. They reveal what's happening around us with whatever level of transparency they see fit, with whatever level of opaqueness they desire to sustain mystery. They're observers, internally and outwardly, operating in a space that allows us, the voyeur, the listener, to learn. Kim Gordon has been teaching us for over three decades. Now she's doing it under her own name.
The experimental music icon got her start in Sonic Youth 35 years ago, revolutionizing the '80s New York no wave scene by extending and challenging its sonic barriers. The band's 1983 debut Confusion is Sex confirmed art school cool could exist in punk grit. 1986's EVOL found mania in madness, shape-shifting noise into avant-diatribe against rock and roll. 1988's Daydream Nation validated the musicians' discordant dynamism. 1990's Goo made them icons free from any form of obscurity. 1995's Washing Machine made them certifiable rockstars. 2009's The Eternal allowed them to both delicately fade into non-existence, and burn out after blazing.
In her modern musical era, Gordon has become Body/Head, a noisy guitar duo with musician friend Bill Nace. Much like Sonic Youth, Body/Head treats song construction as a three-dimensional entity, art music to think to.
Even with the sonic similarities between projects, there is no "Kim Gordon sound." If there was, she'd reject it. Instead, Gordon delights with texture, dazzles with distortion. With the exception of her memoir, Girl In A Band, "Murdered Out" is her first offering under her name as a solo artist and plays to that identity with new found accessibility. The song is perhaps her most melodic to date, a deep examination into a trend in the automotive industry — car enthusiasts blacking out their vehicles, covering the logo and window visibility — murderering out any identifying factors. Growing up in the epicenter of this car culture — Los Angeles — Gordon recognizes the specificity of the art-trend and attempts to honor it on the track.