YOU ARE HERE: LAT HomeCollectionsKim Gordon

Kim Gordon

July 5, 1987 | STEVE HOCHMAN
*** 1/2"SISTER." Sonic Youth. SST. "Beautiful confusion," a phrase from the song "Kill Time," is as good a description of this New York quartet's music as there is. This album of art-damaged, Iggy Pop-grounded rock sprung from Catholic psyches ("I cross myself, it doesn't help," sings Thurston Moore on "White Cross"), is willfully tense and disorienting yet wonderfully--and very sensually--cathartic.
September 23, 1993
A news service bureau opened in San Clemente on Wednesday to offer information about satellite television to the North American media. The Satellite News Bureau is designed to serve as a resource on the 250 channels of video and data and 110 audio channels that are delivered directly, by satellite dish, to homes. The bureau was formed by a coalition of more than 25 companies, many of which are represented on an editorial board that will approve the bureau's operations.
May 8, 1994 | LORRAINE ALI
Since Sonic Youth's beginnings more than a decade ago, the New York noise quartet has been banging out arty dissonance and distortion that's influenced a generation of offbeat guitar bands. On its 10th album, the band comes in somewhere between the experimental clamor of its early days and the poppier feel of its last two major-label albums. It's a clever balance that's both grating and gorgeous.
November 13, 1995 | STEVE HOCHMAN
Playing at the stately Wiltern Theatre on Saturday, Sonic Youth was bound to reveal sounds usually lost at its more usual venues, such as the previous night's echoing Hollywood Palladium and Lollapalooza '95's outdoor amphitheaters. But maybe the most unexpected sounds were the shouts of "sit down!" from a few audience members aimed at standing fans. Stately doesn't have to mean sedate, and most of the audience, heeding bassist Kim Gordon's exhortations, remained upright.
July 26, 2000 | MARC WEINGARTEN
Too often in rock, artists who have clocked more than two decades as performers settle into a creative torpor, killing time with repeated exhumations of their past glory. New York's Sonic Youth takes the opposite tack, obstinately refusing to tidy up its noisy rock for easy consumption, even as it's leaned closer to conventional pop song forms over the past decade.
March 2, 1994 | Associated Press
Several dozen women and a few men made protest music outside the Grammy Awards ceremony Tuesday night, complaining about the elimination of a prize category for best female solo rock vocal. As limousines lined up to drop off celebrities at Radio City Music Hall across the street and klieg lights swept the cold night sky, the protesters marched, danced, beat drums and a gong and chanted. "Meat Loaf again?" said one of the signs they carried.
November 15, 2012 | By Mikael Wood
Given the still-bracing excellence of the band's music, it's never a bad time to turn one's thoughts to Bikini Kill, the pioneering riot grrrl group that blazed a trail out of Olympia, Wash., in the early 1990s. Yet this year serves as the 20th anniversary of Bikini Kill's self-titled debut EP, and to mark the occasion our friends at SPIN have published a probing oral history of the band by Jessica Hopper, who spoke with the group's members as well as with peers such as Fugazi frontman Ian MacKaye and Kim Gordon of Sonic Youth.
March 17, 1994 | JON MATSUMOTO
Sonic Youth's master opus is an ambitious, 70-minute album that thrusts the listener into a dream world as accessible as it is corrosive and haunting. This quartet from New York City hadn't always exhibited such a gift for bitingly original rock 'n' roll soundscapes. When it first kicked up its heels in the early '80s, it was known primarily as a bunch of noise disciples with a handful of limited ideas.
Los Angeles Times Articles