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Old 09.10.2013, 04:35 PM   #61
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From allmusic.com:

Quote:
Review by Heather Phares

During her time with Sonic Youth, Kim Gordon's songs were always among the most experimental, so it's no surprise that of the debut albums released by the band's former members, hers is the most challenging. Coming Apart, her first album with guitarist Bill Nace as Body/Head, is a bold, expansive announcement of who she is after spending so much of her career with one of alternative rock's most legendary acts. While there are hints of Sonic Youth here and there -- "Actress"' beginning sounds a little like a funhouse mirror version of "Teenage Riot"'s intro -- an unmistakable feeling of freedom resonates through the album. Liberated from trying to fit her vision into the context and confines of her previous band and freed from fitting her songs to a drumbeat, Gordon feels more present on Coming Apart than ever before; it's no coincidence she sounds strangely ecstatic when shouting "Can't Help You"'s refrain. Relying only on her voice and dense waves of guitar, she and Nace make the most of noise and silence on these expansive tracks, sounding just as eloquent when whispering and delicately plucking as they do when they're wailing and wringing out feedback. Gordon's vocals are a revelation throughout, spanning rage, anguish, and sensuality as on the cover of "Black is the Color of My True Love's Hair," which rivals their transformative version of "Fever" in emotional ambiguity. While the sly wit that peppered her Sonic Youth songs is missing, it doesn't have a place in the emotive, intuitive territory she and Nace map out on these songs. Indeed, one of Coming Apart's greatest strengths is how cathartic it is. At times, Gordon's earlier work bordered on overly theoretical, and while Coming Apart is certainly steeped in theory -- after all, the album's title comes from a book about French director Catherine Breillat, another artist making challenging, feminist-based work about the disconnection between women, their bodies and their sexuality -- on these songs Gordon embodies these issues instead of describing them. The results are often undeniably, unashamedly harsh: On "Last Mistress," Gordon drags out the words "she marks her territory" so slowly and painfully that it seems like it should leave marks on something, while "Frontal" builds from sensuality to shame to fury before she wails, "You would have killed me/Had you not raped me." Yet she also finds ways of healing these wounds on "Ain't Got No Life," where every item she doesn't have (friends, sweaters, perfume) sounds like more weight off her back, and every item she does have (heart, soul, blood) makes her stronger. Free-flowing, feminine and feminist, these songs are some of the most honest music of Gordon's career. On Coming Apart, she comes into herself.
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Old 09.10.2013, 04:41 PM   #62
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That review sucks.
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Old 09.10.2013, 05:14 PM   #63
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Originally Posted by Genteel Death
That review sucks.
I'm not married to it. But can you, you know, elaborate on this shit...?
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Old 09.10.2013, 05:16 PM   #64
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Because I don't have to.
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Old 09.11.2013, 03:07 PM   #65
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Old 09.11.2013, 03:12 PM   #66
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Quote:
Originally Posted by Moshe
She looks damn hot on that pic. All due respect/no disrespect.

 
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Old 09.12.2013, 10:18 AM   #67
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Old 09.12.2013, 12:59 PM   #68
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Q&A: Kim Gordon on Her New Band Body/Head and Missing Sonic Youth

Read more: http://www.rollingstone.com/music/ne...#ixzz2ehcWAsD2
Follow us: @rollingstone on Twitter | RollingStone on Facebook

http://www.rollingstone.com/music/ne...youth-20130912
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Old 09.13.2013, 08:49 AM   #69
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cross yr fingers!
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Old 09.18.2013, 10:36 AM   #70
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The David Keenan review is in, yáll. It's mighty favourable, y'all:

"Stunning new album from the twin guitar/vocal duo of Kim Gordon (Sonic Youth) and Bill Nace: Coming Apart is a mind-blower, the perfect melding of free-floating vocal reveries and gratuitously atonal twin guitar improvisations, expanding on the early live between-song form of Sonic Youth while moving into the kind of post-No Wave vectors that would mainline the free metal attack of groups like The Blue Humans and The Dead C into spontaneous song forms. Kim’s guitar playing is at an inventive apex here, tearing through ‘solos’ that forsake single-note excess for clusters of barbed overtones, using the guitar as a conduit for pure electricity with Nace working extreme textural detail here and great fuzzed up power chords there. The songs and guitar lines are instantly memorable even as they seem to defy the confines of actual song structure, with tracks melting into each other like wraiths. Kim has also re-invented herself as a vocalist – again – with a distant, automatic feel for body reverie that comes out of Patty Waters and she gives the nod to that with a striking, eviscerated version of “Black Is The Colour Of My True Loves Hair” as well as Nina Simone’s “Ain’t Got No”, channelling visionary female vocals via the ghost of electricity. Indeed, so radical is the group’s remit that it’s hard to believe that Matador would ever have considered releasing a record that was this far off the map if it wasn’t for Kim’s history with Sonic Youth. But they did and it’s a monster, one of the most radical guitar records of the year and probably the wildest side of modern freak from any Sonic Youth member to date. Simply phenomenal and beautifully presented in a swank black and white gatefold sleeve with red inners for that crucial feel of Louboutin sex and lux. Very highly recommended!"
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Old 09.19.2013, 10:53 AM   #71
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Through the skin: Body/Head - 'Coming Apart' review (Matador Records, 2013)
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Old 09.22.2013, 03:04 AM   #72
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Finally got this! And yeah, as almost everybody has said, it´s really great! Like Glacial & Moore/Connors-albums, it rises to the level of SY! And I really like also Kim´s vocals (I have always loved them) I think they´re even more essential part of the whole album than in SY´s Kim´s songs.
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Old 09.23.2013, 03:42 PM   #73
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Old 09.23.2013, 06:25 PM   #74
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To recap the Body/Head-related events coming up in NYC: New Yorker Festival October 5, Issue Project Room two-night benefit November 13 and 14, and now Body/Head is playing MoMA on November 21: http://www.moma.org/visit/calendar/events/19280
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