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Kim Gordon ‘The Collective’ ← Zamilska ⟡ ZDB no Capitólio
Event by: Galeria Zé dos Bois, Kim Gordon
Location: Cineteatro Capitólio, Parque Mayer, Lisboa
Concerts
About event
Entry: €32
Tickets available at: https://zedosbois.bol.pt/
KIM GORDON
There is relevance and relevance. And there are several ways to maintain this relevance. Some artists choose to play with time and follow what the time tells them to do, keeping up with the present through an idea of sound, even if borrowed, disconnecting themselves from the original message. Then there are those for whom the relevance is the message, it doesn't matter what the world will think of them or how they did it, what matters is transmitting the message, adapting it to the time, making it heard at a very high volume, even let there be only silence. It takes power to do it, right. Most important: will. Kim Gordon is in this last example. We wouldn't expect anything else.
We could say that Kim Gordon visits us at a very important moment, but for her all moments are like that. The artistic life has been one of transforming the world, of not stagnating, of looking forward with the desire to change. It was like that with Sonic Youth, at all times, even when we asked them not to be, because we didn't think it was necessary. They continued, always with this relevance, because they knew that part of their power was not that of an institution, but being rebels, continuing to tell us that we could also be like that. The band's hiatus, driven by the end of her marriage with Thurston Moore, in 2011 did not invite Kim Gordon to stop, she did not rest on her laurels and the work she had done. He continued, he wrote a book about this thing about being “The Girl in the Band”, he continued with free music and with Bill Nace he started the life of Body/Head, until his solo career took on meaning and here we are, “The Collective ”, the work from 2024 that he now comes to Lisbon to present.
It is this last album that forces us to talk about relevance, due to the way in which Kim Gordon takes risks and wins us over with an approach that merges trap, industrial and noise and results in the noise you need for these confusing times. “The Collective” is heard as the noise of the streets, the malaise, a heartbreaking thing that echoes the present and the fear of the future. A soundtrack for an election year in the United States and, we can guess, this context will affect the way we hear Kim Gordon in November (she will take the stage at the Capitol a few days after the US elections). Just as this noise is, “The Collective” is also the soundtrack to incite it, the sound we need to get moving and get out of the house. It is not the sound of revolution, because Kim Gordon knows well that it should no longer be her doing it, but in it lies the harmony – or lack thereof – of how we should look for it. Cause, consequence and action take place in Kim Gordon's present. That's how we've always heard her, that's how she wants to continue to be. Relevant, yes, but especially with us here, in the present. In the street. AS
ZAMILSKA
ZAMILSKA's heavy, rhythmic sounds are filled with lots of bass. Although associated with techno, her music goes far beyond the definition of the genre and oscillates between electronica, world music and noise. He draws inspiration from various sources: raw sounds taken from his native Silesia, precisely intertwined with tribal chants and oriental elements. The robustness of an industrial shredder, thoughtful yet melodic, trance-like. In her home country, she has played on Poland's biggest stages, worked with acclaimed local artists as well as groups such as the Philharmonic Orchestra and was nominated for the Polish equivalent of the Grammys for three of her albums. Overseas, her tracks have been played on BBC Radio 6 Music by none other than Iggy Pop, Mary Anne Hobbs and Tom Ravenscroft. Nine Inch Nails recommended one of her tracks on their official Spotify playlist. She has worked on several music (remixes) and fashion projects. She also toured Europe, playing at festivals such as Transmusicales, CTM, Primavera, Norbergfestival, TodaysArt, Insomnia, Fantoche, among many others.
Tickets available at: https://zedosbois.bol.pt/
KIM GORDON
There is relevance and relevance. And there are several ways to maintain this relevance. Some artists choose to play with time and follow what the time tells them to do, keeping up with the present through an idea of sound, even if borrowed, disconnecting themselves from the original message. Then there are those for whom the relevance is the message, it doesn't matter what the world will think of them or how they did it, what matters is transmitting the message, adapting it to the time, making it heard at a very high volume, even let there be only silence. It takes power to do it, right. Most important: will. Kim Gordon is in this last example. We wouldn't expect anything else.
We could say that Kim Gordon visits us at a very important moment, but for her all moments are like that. The artistic life has been one of transforming the world, of not stagnating, of looking forward with the desire to change. It was like that with Sonic Youth, at all times, even when we asked them not to be, because we didn't think it was necessary. They continued, always with this relevance, because they knew that part of their power was not that of an institution, but being rebels, continuing to tell us that we could also be like that. The band's hiatus, driven by the end of her marriage with Thurston Moore, in 2011 did not invite Kim Gordon to stop, she did not rest on her laurels and the work she had done. He continued, he wrote a book about this thing about being “The Girl in the Band”, he continued with free music and with Bill Nace he started the life of Body/Head, until his solo career took on meaning and here we are, “The Collective ”, the work from 2024 that he now comes to Lisbon to present.
It is this last album that forces us to talk about relevance, due to the way in which Kim Gordon takes risks and wins us over with an approach that merges trap, industrial and noise and results in the noise you need for these confusing times. “The Collective” is heard as the noise of the streets, the malaise, a heartbreaking thing that echoes the present and the fear of the future. A soundtrack for an election year in the United States and, we can guess, this context will affect the way we hear Kim Gordon in November (she will take the stage at the Capitol a few days after the US elections). Just as this noise is, “The Collective” is also the soundtrack to incite it, the sound we need to get moving and get out of the house. It is not the sound of revolution, because Kim Gordon knows well that it should no longer be her doing it, but in it lies the harmony – or lack thereof – of how we should look for it. Cause, consequence and action take place in Kim Gordon's present. That's how we've always heard her, that's how she wants to continue to be. Relevant, yes, but especially with us here, in the present. In the street. AS
ZAMILSKA
ZAMILSKA's heavy, rhythmic sounds are filled with lots of bass. Although associated with techno, her music goes far beyond the definition of the genre and oscillates between electronica, world music and noise. He draws inspiration from various sources: raw sounds taken from his native Silesia, precisely intertwined with tribal chants and oriental elements. The robustness of an industrial shredder, thoughtful yet melodic, trance-like. In her home country, she has played on Poland's biggest stages, worked with acclaimed local artists as well as groups such as the Philharmonic Orchestra and was nominated for the Polish equivalent of the Grammys for three of her albums. Overseas, her tracks have been played on BBC Radio 6 Music by none other than Iggy Pop, Mary Anne Hobbs and Tom Ravenscroft. Nine Inch Nails recommended one of her tracks on their official Spotify playlist. She has worked on several music (remixes) and fashion projects. She also toured Europe, playing at festivals such as Transmusicales, CTM, Primavera, Norbergfestival, TodaysArt, Insomnia, Fantoche, among many others.