Kim Gordon, famed for her influential role in the alternative rock band Sonic Youth and a prominent contributor to New York's 1980s no wave movement, is set to release her third solo album titled Play Me. The announcement, which coincided with the debut of the evocative single "Not Today," marks a continuation of Gordon's solo career that began a decade ago.
Gordon's inaugural solo single, "Murdered Out," emerged ten years prior, showcasing a blend of layered, discordant guitar sounds paired with her distinctive deadpan vocal delivery. Inspired by Los Angeles car culture, the track was produced in collaboration with Justin Raisen, a producer then primarily recognized for his pop collaborations with artists such as Sky Ferreira and Charli XCX. Despite initial skepticism about partnering with a producer and co-creator, Gordon describes her ongoing work with Raisen as fundamentally liberating and creatively fulfilling.
Play Me follows the critical success of Gordon's 2024 album, The Collective, distinguished by its prominent beat-driven approach, incorporating unconventional trap rhythms that earned her first Grammy nominations in the categories of alternative music album and alternative music performance. One of the standout tracks from that album, "Bye Bye," known for its eerie and discordant beat originally crafted for rapper Playboi Carti, has been revisited in Play Me as "Bye Bye 25!" reflecting Gordon's engagement with the rap tradition of remixing and reinvention.
The lyrics of "Bye Bye 25!" include phrases that former President Donald Trump reportedly sought to eliminate from federal usage due to their association with diversity, equity, and inclusion policies. Examples cited include "Injustice," "Opportunity," and "Housing for the future." Gordon notes that this conceptual framing allowed the new rendition to feel less anxiety-inducing than its predecessor.
There is a notable thematic and sonic thread connecting The Collective and Play Me, with both albums confronting contemporary issues through dynamic production and incisive lyrics. Gordon describes her forthcoming album as a natural progression - more concise, immediate, and focused. The songs tend toward brevity and deliberate attention to detail, reinforcing her interest in rhythmic beats and spatial sound over traditional melody.
The title track, "Play Me," critiques the prevalent culture of passive music consumption in the era of digital streaming services. The lyrics reference Spotify playlist titles and genre categories defined more by mood than musical style, such as "Rich popular girl / Villain mode" and "Jazz and background / Chillin’ after work." Gordon views this as indicative of a convenience-driven culture that diminishes music's role as a vehicle for freedom. Musically, the track incorporates a groove reminiscent of 1970s records, engaging with an era less dominated by digital technologies.
Beyond commentary on listening habits, the album addresses broader societal themes. For instance, "Subcon" critiques the ostentatious pursuits of the global billionaire class, particularly their space colonization ambitions amid widespread economic uncertainty. Gordon employs lyrical abstraction to underscore the absurdity of such ventures, positioning reality itself as a source of inspiration irrespective of its challenges. Rather than retreating from contemporary issues, she relinquishes conventional expectations about music and offers her own interpretation.
Ultimately, Gordon aspires for the album to resonate deeply with listeners, evoking a sense of fulfillment as the kind of music they have desired. She acknowledges that such ambition could be construed as egotistical but implies that it is justified by the work’s substance.
The tracklist for Play Me is as follows:
1. "Play Me"
2. "Girl with a Look"
3. "No Hands"
4. "Black Out"
5. "Dirty Tech"
6. "Not Today"
7. "Busy Bee"
8. "Square Jaw"
9. "Subcon"
10. "Post Empire"
11. "Nail Bitter"
12. "Bye Bye 25!"