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Kim Gordon/Ikue Mori/Dj Olive [Import]

Kim/Mori;Ikue/DJ Olive Gordon Audio CD
4.0 out of 5 stars  See all reviews (8 customer reviews)
Price: CDN$ 17.53 & FREE Shipping on orders over CDN$ 25. Details
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Product Details

1. Olive's horn
2. International spy
3. Neu Adult
4. Paper back
5. Stuck on gum
6. Fried mushroom
7. What do you want? (Kim)
8. Lemonade
9. We are the princeses
10. Take it to the hit
11. Take me back

Product Description


Even the most die-hard Sonic Youth fan must have tip-toed trepidatiously to his or her first listen to the band's major label releases in the 1990s. However, the releases on the band's own SYR label, while concentrating exclusively on the most experimental end of their sonic spectrum, have been consistently fascinating and varied. The first two SYR releases were the work of the core quartet, the third added Jim O'Rourke (as a semi-permanent member) and the fourth, Goodbye 20th Century, expanded the ensemble with seven guests. This disc is the first release on the label that is not by Sonic Youth per se--Kim Gordon has joined forces with DJ Olive and Ikue Mori. Mori has been a fixture of the downtown New York experimental scene for two decades and employs a sampler and a pile of electronic percussion that looks like it was soldered together from a mail-order kit. DJ Olive is one third of WE, who are the best of New York's so-called "illbient" scene. The recontextualization that the new trio allows suits Gordon very well--shorn of any need to "rock", her knotty distorted guitar textures are settled snugly amidst the whirlwind of sound from the other two and her voice bobs around like a raft on the sonic sea. There's very little in the way of conventionally structured songs here, so she can stretch out a bit with some extended vocal techniques. Often ("Neu Adult", "Lemonade"), the lyrics are spread out in a way that doesn't readily invite following them as a narrative. Other songs are a little more straightforward, as when she's hollering "Donald Duck, kill Minnie!" ("We are the Princesses"), or the more Surrealist "Paperbag/Orange Laptop" where the words are easy to understand but intriguingly difficult to make sense of. You might think that between a DJ and a drum machine operator, something resembling a groove would emerge, but Mori never does that and Olive remains equally abstract on this occasion--the two create a complex kaleidoscope of sounds with plenty of percussive chatter but no regular pulse. -Bob Bannister

Product Description

Customer Reviews

Most helpful customer reviews
1.0 out of 5 stars Anyone who knows anything about improv... May 22 2003
Format:Audio CD
wouldn't give this five stars. Come on people! This is a terrible record. nothing gels together. kim spouts off nonesense that isn't even good nonsense. or whatever.
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5.0 out of 5 stars Eclectic Jan. 13 2002
Format:Audio CD
The muse behind husband and bandmate Thurston Moore's love of droney, tangent filled guitar lines, Kim Gordon shows her influences here. The fifth in their series of minimal, music concrete-inspired releases, this is a collaboration that collides, twists, and smashes each of its parts. DJ Olive on the turntables mixes the inklings of crackly melodies and slight orchestral washes, while Ikue Mori deals with the scrapes, the swishes, and the organic bleating of beats. Gordon takes care of the affected, alternatively-tuned guitar strumming, and breathy vocal snippets.
Each song varies in its usage of these three talents; the album is full of varying degrees of drone (thanks to DJ Olive's wax tracks), paired with odd sounds and irregular rhythms and blasts (thanks to drummer Ikue Mori's avant guard/no wave-ness), and out of tune vocals singing along with muted, chunky Sonic Youth-like guitar lines. The album screeches, wafts, and dissonantly bleaches out any familiar melodies. Highlights include Cibo Matto's Yuka Honda with "Take It To the Hit," and the surprise reggae sample on "Take Me Back." In "We Are The Princesses", Kim Gordon offers an interesting set of vocals and lyrics, repeating over and over "we are the princesses" and then "donald duck will follow her! kill! kill minnie! kill minnie!" over and over, an example of how interesting and diverse this cd can be, definately a great album to own.
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5.0 out of 5 stars A masterful piece of experimental noise Oct. 14 2000
Format:Audio CD
I'm not sure why this record has elicited so much confusion and mixed critical response: fans of Sonic Youth, who are surely aware of Thurston Moore and company's longstanding interest in avant garde jazz and experimental music, shouldn't be all that surprised by this record. That said, a rock record this isn't. However, as the cover art (with its Japanese characters) tends to imply, anyone who might be attracted to Japanese noise artists, as well as to experimental or improvisational music that treads a fascinating line between ambient and industrial (with dream-like vocals from the perpetually cool Kim Gordon) will find much to appreciate in this album's intricate and atmospheric improvisations. Like great free jazz, it isn't necessarily background music, but (unlike some others have commented) I find much of this album quite beautiful: for me, it was love at first listen. (To those who have bought and enjoyed this album: you might also enjoy the CD by Hoahio, on the Tzadik label, on which three Japanese women experiment with everything from pop songs to Japanese folk to pure sound sculpture and improvised noise, with similarly fascinating results.)
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3.0 out of 5 stars art or parody ? Oct. 8 2000
Format:Audio CD
first off, let's give credit where due: kim g is one of the boldest and most courageous women in rock music today. while her artistic decisions do not determine whether 1 or 5 million units will be shifted, she is a high profile rockgrrrl that deftly experiments and consistently redefines the outer bounds of what can be expected from her as an artist by her audience.
but this alone is not enough to ensure she stays off the hook. this is some of the ugliest, most brutal, unlistenable music that has ever been created by the sy conglomerate. her voice is hard, angular, and slashes through the dissonance as if it was just another wildly out-of-tune guitar. the lyrics are random and vague and race from her lips in fits and starts like a stuttering epileptic.
but, we are presented a truer vision of kim gordon, the artist, now that she took a night out without the boys. the facets that she demonstrates are impenetrable: this album represents how freud would tell a fairytale, stating evidence from the id as opposed to a true storyline.
while this paints an ever more fascinating portrait of kim gordon it is also very hard to digest in any setting. some passages seem entirely indefensibly and tinker just on the edge of self-parody. she is giving ammunition to her critics but, by straddling that line, she is staying true to herself and following that own strange muse locked in her head.
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