Kim Gordon

Support: The New Eves

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Kim Gordon

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The legendary Kim Gordon returns to Berlin with her third solo album PLAY ME. Sharp, distilled, and strikingly direct, the record widens Gordon’s sonic terrain, weaving in more melodic rhythmic structures alongside the propulsive motorik pulse of krautrock. As ever, she filters the present moment through her singular lens, dissecting the fallout of the billionaire class, the erosion of democratic ideals, the creep of technocratic end-times fascism, and the A.I.-polished chill-vibes smoothing culture into something eerily inert. With her caustic wit and dark humor, Gordon captures the strange absurdities of contemporary life.

Across twelve tightly focused pieces, the album sharpens Gordon’s rhythm-forward approach into restless beat-driven architecture heaving with blown-out guitar textures, clipped vocal delivery and and industrialized pulse. Moving with unusual economy, songs build pressure through loops, abrupt shifts, and skeletal grooves, circling questions of power, technology, and cultural flattening. Though the album frequently looks outward, PLAY ME ultimately unfolds as an interior work, charged with heightened emotion coursing through tactile, physical jams, favoring curiosity and open-ended exploration over fixed conclusions.

A barrier-breaker in relentlessly male-dominated cultural spaces, Gordon has long embodied an effortless cool paired with fearless, disciplined experimentation. For decades she has remained a vital and galvanizing presence, inspiring generations by refusing compromise or stagnation. What Gordon's art, her life, and her cool have never been contingent on anyone else—through time and sustained creation she has steadied her own course, and now she steers once more toward thrilling and uncharted waters.

Built from myth and literature, the aurals of The New Eves bend the archaic into the current, often flipping perspective and centering autonomy and identity. Formed in Brighton, they pull together flute, cello, bass, violin and drums into a form of folk storytelling that’s neither delicate nor whimsical. This is the old folk, physical and a touch unhinged, dug from the dirt and born of struggle. Poems and fragments are stretched, looped, and reworked, spoken passages colliding with driving rhythms and repeated phrases which, performed live, beg for audience call-and-response. Constant communal instrument switching and movement lends a deliciously tense instability, songs sometimes nearly falling apart before snapping back into shape.