Kim Gordon: Art, Music, and AI Nightmares

Kim Gordon, known for her work with Sonic Youth, has released a new solo album titled 'Play Me.' This collection serves as a pointed commentary on contemporary society, particularly criticizing the pervasive influence of technology and artificial intelligence. Gordon approaches the album's creation with a sense of freedom, incorporating influences like krautrock and relying on producer Justin Raisen's guidance.

Gordon voices significant anxieties regarding the current state of affairs, especially the rapid advancement and adoption of AI. She highlights concerns about the substantial water resources required for AI and the subsequent increase in electricity costs for consumers. Her album reflects these worries, with tracks like 'Post Empire' and 'Dirty Tech' exploring societal disarray.

During the creative process for 'Play Me,' Gordon experimented with dissonant guitar sounds, often improvising with various pedals and a Fender tweed amp. She specifically mentions techniques like unplugging and replugging guitar leads and using a "fucked-up, swirly circular delay" pedal. While famous as a bassist, Gordon reveals she hasn't played bass since Sonic Youth's final performance in 2011, finding improvisation on guitar more creatively satisfying due to its wider range of textures and sounds.

Gordon has long been associated with Fender Jazzmasters, consistently using one from around 2009 or 2010. She is currently developing a signature guitar model with Fender, based on her favored Jazzmaster and featuring Seymour Duncan pickups. Her artistic journey began with a focus on visual arts, and she considers music a more accidental but enjoyable pursuit, maintaining a stronger connection to the art world than the music industry.

Reflecting on her past with Sonic Youth, Gordon described their early approach as wanting to create something distinct, influenced by figures like Glenn Branca and Rhys Chatham, and pioneers of alternate tunings. She views the guitar as an extension of the body, comparing its use to a paintbrush, and has explored its possibilities through art films. Despite her significant impact on rock music, Gordon admits to experiencing imposter syndrome, preferring to focus on the creative act rather than external perceptions.