“BUSY BEE” incorporates samples from MTV, co-hosted by Kim Gordon and Free Kitten bandmate Julia Cafritz. beach house“The pressure to relax was too much for her,” echoes one sentence over the rattles. Sure enough, Dave Grohl’s drums start playing again. play meA dangerous flow. ‘BYE BYE’, highlights from Sonic Youth co-founder’s previous solo album The Collectivewhich spawned TikTok videos of teens checking off their packing lists, just as Gordon was chaotic in that truck – can you imagine taking a vacation these days, let alone looking like she’s saying it now? I’m enjoying it that? The pressure to create music for “relaxing after work,” as the opening track goes, is too much for Gordon. As such, she has produced soundtracks for Doomscrolls, Brain Fog, and Post-Everything. Shorter and more natural than the previous work, play meThe restlessness of is almost equally fruitful.
1. play me
The album glides into view with a cavernous bassline that prevents it from being included in the same playlists it lampoons, including “Rich Popular Girl,” “Villain Mode,” “Jazz in the Background,” and “Ready for Spring.” The March 11th release and horn-sample opening title track have an air of assimilation that might as well have given in, but Gordon’s well-chosen sensuality is too amusing to be interpreted as anything other than a joke. You may be able to relax by listening to this music, but you cannot truly relax by listening to this music.
2. The girl who looks at me
Drifting synths along with Motorik’s beat express the gender dynamics of looking girls and looking boys. Now that vibes have been algorithmically enhanced, all that remains is the human desperation to “swing me around/dance with me.” The duller the record sounds, the more serious it feels.
3. No hands
Gordon stirs things up again, returning to a rattling rhythm that she can easily command. She also heightens the abstraction, but it’s not hard to guess who says, “Don’t put your hands on the steering wheel, it’s stealing.” But neither her vocals nor Reisen’s production strays from the track, remaining crisp and pointed.
4. Blackout
“BLACK OUT” precedes the similarly themed early single “DIRTY TECH,” a kind of shambling prologue that finds her intonation: “I’m the queen of your hearts/The ace of your spades/You can’t beat me/I’ll beat you.” Not only is it timely in an apocalyptic sense, but it also has a sense of contemporary urgency, which may have something to do with why the film was kept short.
5. Dirty Tech
With the most infectious beat on the album, “DIRTY TECH” highlights the inability of technology to be truly uplifting. What could be more appealing than hearing the words, “Talk about dirty technology?” I worry about those who can’t hear the laughter or read between the lines of, as she puts it, the “subplots.”
6. Not today
Second most offline song after “GIRL WITH A LOOK” play me Also, the most memorable part is when Gordon repeats the line, “There’s a hole in my heart.” Elegant synths are replaced by thickly coated guitars, a new wave haze cluttering the necessary forward thrust. In NOT TODAY, Gordon is in pain, distracted, and euphoric, all of which blur the lines. “Don’t worry about the mess,” she sings, but it’s hard to notice in the searing chaos.
7. Busy Bee
The album’s very best songs are suitably busy with a roaring rhythm section featuring none other than Dave Grohl on drums. This is a sample interview with Free Kitten bandmate Julia Cafritz. And enough absurd hooks to offset some of this record’s simpler stuff.
8. Square jaw
As if energized by “BUSY BEE,” Gordon gets even wilder with his vocals, looking for new tricks rather than falling into clichés. Armed with her sensory mastery, she threatens Elon Musk with a “bad punch” with boneheaded precision. It lands quite hard.
9. Subcontractor
Gordon’s satire is further sprinkled throughout “SUBCON,” which features names for everything from 3D printing to Substack. It is definitely, largely This is the same sound as subtweeting Musk while scrolling through the Everything app.
10. Post Empire
Like “NO HANDS,” “POST EMPIRE” could also be a little more subtle, especially to maintain the illusion of a cryptic message. The line “Love what you did with the Empire” is a memorable line, but overall the song doesn’t add much to the album.
11. Nail Biter
Reisen has somehow boosted the rattling bass even further, indicating that it has been softening it for some time. Gordon, on the other hand, zooms out a bit and replaces modern technology with a more classic anti-consumerist angle. But the same fear prevails, punctuated by Raisen’s nightmarish synths and sampled distortion. The desire to know more may feel like an out-of-body experience for a time, but it always brings you down.
12.Bye-bye 25!
As a standalone track or a bonus cut, “BYEBYE25!” That’s fine, but as a close play methis rework The Collective‘s outstanding work oddly frames the new record as an update with more political content, when in fact it’s a separate body of work, even if it’s a bit lighter. Reusing a list of words banned by the Trump administration from federal websites and making it strangely less personal than the original, the result is an even clumsier song. But it’s no longer possible to ignore that these two records come from the same restless state of mind, and Gordon and Leisen are not short on ideas as a pair. They keep absorbing more and more of what is in front of them.
Source: Our Culture – ourculturemag.com
