There’s something deliciously unhinged about Kim Gordon returning with a record that feels less like an album drop and more like a coded transmission from a near-future already leaking into the present. PLAY ME, her third solo outing via Matador Records, arrives this Friday, March 13, dragging with it the static of late capitalism, algorithmic dread and a dry, serrated wit that refuses to sand down the edges.
The newly unveiled title track lands like a glitch in the system, accompanied by a visual directed by Barney Clay that leans into Gordon’s long-standing fascination with image as disruption. It follows earlier dispatches from the record: ‘DIRTY TECH’, a jagged meditation on human versus machine tension, brought to life in a stark corporate wasteland by Moni Haworth; and ‘NOT TODAY’, which arrived via a short film helmed by Kate Mulleavy and Laura Mulleavy, shot through the lens of Christopher Blauvelt with a cool, disquieting precision.
If the singles hinted at fragmentation, PLAY ME leans all the way in. Gordon dissects the fallout of the billionaire class with the calm intensity of someone mapping a burning city from above: democracy in freefall, culture flattened into algorithm-friendly sludge, and a creeping technocratic malaise that hums beneath it all. Yet for all its outward critique, the record folds inward. These tracks pulse with restless curiosity rather than resolution, choosing movement over manifesto.
The live circuit will soon echo that same energy. Gordon has mapped out a run of North American dates, including a Los Angeles stop at Sid The Cat on April 2, before weaving through Chicago, Denver, Minneapolis, San Francisco and Vancouver, alongside previously announced UK and European shows.
In Gordon’s hands, PLAY ME doesn’t offer answers. It flickers, provokes, mutates. A record that stares directly into the machine and dares it to blink first.
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