Name: No Home Record
Brand: Kim Gordon

Bonus disc

Bonus disc: No

Catalogue number

OLE1379MC

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Colour

Colour details

Discogs ID

Format multiplier

Download code

Download code: No

Rough Trade Exclusive

Rough Trade Exclusive: No

Extended format

Extended format: No

Format detail

Format Music GB

Tape

Limited edition

Release date

2019-10-11

Signed copies

Signed copies: No

Supplier GB

PIAS

Tax rate GB

Standard:20

UPC / Barcode

744861137948

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Total Cap

1 / Extended format: No / Rough Trade Exclusive: No / Signed copies: No / Tape

OLE13792

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744861137924

{"blocks": [{"data": {"text": "744861137924"}, "type": "paragraph"}]}

1 / CD / Extended format: No / Rough Trade Exclusive: No / Signed copies: No

OLE13791

{"blocks": [{"data": {"text": "OLE13791"}, "type": "paragraph"}]}

Black

744861137917

{"blocks": [{"data": {"text": "744861137917"}, "type": "paragraph"}]}

1 / Extended format: No / LP / Rough Trade Exclusive: No / Signed copies: No / black

Artist

Kim Gordon

Genre GB

Alternative / Modern

Label GB

Matador

Albums of the Year - 2019

Kim Gordon is a renowned bassist, guitarist, and vocalist born in Rochester, New York on 28 April 1953. Raised in Los Angeles, she primarily expresses herself through visual art. In 1981, Gordon moved to New York City where she co-founded Sonic Youth with her husband Thurston Moore (1984–2012). Alongside Sonic Youth, Gordon has also been involved in various other musical projects including Body/Head, Free Kitten, Ciccone Youth, Harry Crews, and Mirror/Dash.

Gordon's unique artistic vision extends beyond Sonic Youth. Her solo project Body/Head showcases her experimental soundscapes and poetic lyrics. She has collaborated with fellow artists such as Thurston Moore and Lee Ranaldo to create captivating music that pushes boundaries.

Influenced by the likes of Liars, Pere Ubu, Suicide, Beak>, The Breeders and more; Kim Gordon's work resonates with fans of diverse genres. Her contributions to the music industry have left an indelible mark on alternative rock and noise rock scenes.

U.S. independent label based in NYC; for company roles and copyrights please consider [l390562] for the USA, [l=Matador Records Ltd.] for the UK company division and the generic company profile relating to either legal entities [l=Matador Records (2)] 
[b]Note that while some Matador releases are exclusive to North America or Europe, they use one numbering system for all releases, so it is not necessary to enter them under separate labels.[/b]

The Matador label began in 1989 when [a=Chris Lombardi] dragged the Austrian duo H.P. Zinker into Wharton Tiers’ Fun City studio to record OLE-001, ...and there was light. Run out of Chris’ New York apartment, Lombardi added artists such as the Dustdevils, Railroad Jerk and Superchunk to the initial roster. Joined by longtime Homestead Records manager Gerard Cosloy in 1990, Matador experienced its first taste of crazed media attention & big sales with the North American release of Teenage Fanclub’s debut long-player, A Catholic Education. Over the years, the label has moved from shoebox sized offices to larger and larger complexes, the staff has grown from 2 to 24, and the roster has simply exploded. As well as functioning as the North American home to Pavement, Liz Phair and The Jon Spencer Blues Explosion, Matador has helped artists such as Yo La Tengo, Cat Power, Cornelius, Solex, Pizzicato Five, Helium and the Arsonists reach audiences worldwide.

Matador has also served as the North American licensee for a number of exceptional international acts, including Belle & Sebastian, Mogwai, Boards of Canada, Red Snapper, Arab Strap and others. Since 1996, Matador has maintained separate offices and staff in London. In addition to supervising the promotion, sales and marketing of Matador titles on the continent, Matador Europe has also licensed recordings from some of North America’s most acclaimed new artists, M. Ward, Sleater-Kinney, Modest Mouse, and Superchunk to name a few.

While Matador has often been characterized (not by the label itself) as an underground or "indie" rock label, over the years, the label’s musical direction has grown, to the point where many hip hop, electronic and experimental acts play as prominent a role in the label’s sound & future as any number of singer/songwriters and rock bands. Sometimes all of the above converge.

During the 1990s, Matador entered into partnerships with [l=Atlantic] and [l=Capitol Records]. In 1999, Lombardi & Cosloy purchased back Capitol's 49% share of the label, and in 2002, [l613604] purchased 50% of the legal entities behind the Matador label / imprint [l390562] and [l291335] and took over Matador's worldwide marketing.

With a career spanning nearly four decades, Kim Gordon is one of the most prolific and visionary artists working today. A co-founder of the legendary Sonic Youth, Gordon has performed all over the world, collaborating with many of music’s most exciting figures including Tony Conrad, Ikue Mori, Julie Cafritz and Stephen Malkmus. Most recently, Gordon has been hitting the road with Body/Head, her spellbinding partnership with artist and musician Bill Nace. Despite the exhaustive nature of her résumé, the most reliable aspect of Gordon’s music may be its resistance to formula. Songs discover themselves as they unspool, each one performing a test of the medium’s possibilities and limits. Her command is astonishing, but Gordon’s artistic curiosity remains the guiding force behind her music.

It makes sense that this “American idea” (as Gordon says on the agitated rock track Air BnB) of purchasing utopia permeates the record, as no place is this phenomenon more apparent than Los Angeles, where Gordon was born and recently returned to after several lifetimes on the east coast. It was a move precipitated by a number of seismic shifts in her personal life and undoubtedly plays a role in No Home Record’s fascination with transience. The album opens with the restless Sketch Artist, where Gordon sings about “dreaming in a tent” as the music shutters and skips like scenery through a car window. Even Earthquake, perhaps the record’s most straightforward track embodies this mood; Gordon’s voice wavering like watercolor: “If I could cry and shake for you / I’d lay awake for you / I got sand in my heart for you,” guitar strokes blending into one another as they bleed out across an unstable page. Front to back, No Home Record is an expert operation in the uncanny. You don’t simply listen to Gordon’s music; you experience it.

No Home Record

Music GB

Buy Kim Gordon - No Home Record (Vinyl, CD) now from Rough Trade - independent purveyors of great music, since 1976.