Kim Gordon Shares New Track + Video "Psychedelic Orgasm,"
SECOND SOLO ALBUM
OUT THIS FRIDAY, MARCH 8TH, ON MATADOR
SPRING 2024 TOUR KICKS OFF MARCH 21
ADDITIONAL NORTH AMERICAN TOUR DATES ANNOUNCED
KIM GORDON ON TOUR:
March 21 – Burlington, VT – Higher Ground
March 22 – Washington, DC – Black Cat
March 23 – Queens, NY – Knockdown Center
March 27 – Los Angeles, CA – The Regent Theater
March 29 – Ventura, CA – Music Hall
March 30 – San Francisco, CA – Fillmore
June 7 – Minneapolis, MN – Fine Line
June 8 – Chicago, IL – Beyond the Gate @ Bohemian National Cemetery
June 9 – Detroit, MI – El Club
June 10 – Toronto, ON – Axis Club
June 12 – Hudson, NY – Basilica Hudson
June 14 – Philadelphia, PA – Union Transfer
June 15 – Pittsburgh, PA – Mr. Smalls Theatre
June 17 – Louisville, KY – Headliners Music Hall
June 18 – Asheville, NC – The Grey Eagle
June 19 – Atlanta, GA – Terminal West
June 21 – Carrboro, NC – Cat’s Cradle
June 22 – Vienna, VA – Out and About Festival
June 25 – London, UK – Koko
June 26 – Birmingham, UK – O2 Institute2 Birmingham
June 28 – Graz, AZ – Elevate Festival
July 1 – Munich, DE – Muffatwerk
July 2 – Prague, CZ – Meet Factory
July 3 – Gdynia, PL – Open’er Festival
July 5 – Roskilde, DK – Roskilde Festival
July 28 – Naeba, JP – Fuji Rock Festival
Musician and visual artist Kim Gordon will release her highly anticipated second solo album, The Collective, this Friday, March 8th via Matador Records. Today, she offers one more early taste of the album with “Psychedelic Orgasm.” Listen here.
A video for the track is also out today, directed by Kim Gordon and musician/filmmaker/producer Vice Cooler. With its quick cuts and upside down tableaus of desiccated pumpkins, giant inflatables and shopping mall escalators, the Los Angeles-set clip is as disorienting as “Psychedelic Orgasm” itself.
“Psychedelic Orgasm” follows previously released singles and videos “I’m A Man” and “BYE BYE,” which both star Coco Gordon Moore.
Gordon will play six live shows around The Collective’s arrival, beginning March 21 in Burlington and include stops in NYC, LA, San Francisco and more. She has also announced another run of tour dates kicking off in Minneapolis on June 7, stops include Chicago, Detroit, Philadelphia, Asheville and more. A full rundown of the tour dates can be found below and tickets for the newly announced dates are on sale March 8 at 10am local time.
The Collective:
There was a space in Kim Gordon’s No Home Record. It might not have been a home and it might not have been a record, but I seem to recall there was a space. Boulevards, bedrooms, instruments were played, recorded, the voice and its utterances, straining a way through the rhythms and the chords, threaded in some shared place, we met there, the guitar came too, there fell a peal of cymbals, driving on the music. We listened, we turned our back to the walls, slithered through the city at night. Kim Gordon’s words in our ears, her eyes, she saw, she knew, she remembered, she liked. We were moving somewhere. No home record. Moving.
Now I’m listening to The Collective. And I’m thinking, what has been done to this space, how has she treated it, it’s not here the same way, not quite. I mean, not at all. On this evidence, it splintered, glittered, crashed and burned. It’s dark here. Can I love you with my eyes open? “It’s Dark Inside.” Haunted by synthesized voices bodiless. Planes of projections. Mirrors get your gun and the echo of a well-known tune, comes in liminal, yet never not hanging around, part of the atmosphere, fading in and out, like she says - Grinding at the edges. Grinding at us all, grinding us away. Hurting, scraping. Sediments, layers, of recorded emissions, mined, twisted, refracted. That makes the music. This shimmering, airless geology, agitated, quarried, cries made in data, bounced down underground tunnels, reaching our ears. We recalled it – but not as a memory, more like how you recall a product, when it’s flawed.
She sings “Shelf Warmer” so it sounds like shelf life, it sounds radioactive, inside our relationships, juddering, the beats chattering, edgy, the pain of love in the gift shop, assembled in hollow booms, in scratching claps. Non-reciprocal gift giving, there is a return policy. But - novel idea – A hand and a kiss. How about that. Disruption. I would say that Kim Gordon is thinking about how thinking is, now. Conceptual artists do that, did that. “I Don’t Miss My Mind.” The record opens with a list, but the list is under the title “BYE BYE.” The list says milk thistle, dog sitter…. And much more. She’s leaving. Why is the list anxious? How divisive is mascara? It’s on the list. I am packing, listening to the list. Is it mine, or hers.
She began seeking images from behind her closed eyes. Putting them to music. But I need to keep my eyes open as I walk the streets, with noise cancelled by the airbuds rammed in my ears. quiet, aware, quiet, aware, they chant at me. What could be going through Kim’s head as she goes through mine?
-Written by English artist Josephine Pryde
Recorded in Gordon’s native Los Angeles, The Collective follows her 2019 full-length debut No Home Record and continues her collaboration with producer Justin Raisen (Lil Yachty, John Cale, Yeah Yeah Yeahs, Charli XCX, Yves Tumor), with additional production from Anthony Paul Lopez. The album advances their joint world building, with Raisin’s damaged, blown out dub and trap constructions playing the foil to Gordon’s intuitive word collages and hooky mantras, which conjure communication, commercial sublimation and sensory overload.
