Body/Head at the MIA, 2/27/14

Categories: Last Night
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Photo by Steve Cohen

Body/Head
Minneapolis Institute of Arts, Minneapolis
Thursday, February 27, 2014

When you go to the art museum, you're gonna get some art. Nobody who'd already heard Body/Head's 2013 Matador debut, Coming Apart, went to the MIA Thursday night expecting to sing along with Kim Gordon. Body/Head is Gordon's first musical project since Sonic Youth went on a hiatus that nobody's pretending isn't permanent. The project is a two-guitar collaboration with Massachusetts experimental noise musician Bill Nace, and it doesn't feel quite right to call it a band.

"Bands" play pop or rock, or even pop-art or art-rock. Throughout a brief three-song set, which barely scraped over a half hour, this duo constructed electronic sound sculptures, though Gordon's guitar often disrespectfully scrawled graffiti on these works, her tweaking hooky even at its noisiest. Old habits die hard.

See Also: Slideshow: Body/Head at the MIA, 2/27/14


The initial bursts of noise were shapeless and feckless causes for concern. The fear wasn't that Body/Head would be pretentious -- that was a given. (Anyway, what a silly pejorative, like we all deserve a cash refund whenever an artist's ambition exceeds her execution.) No, the looming pitfall was self-indulgence, a particularly dangerous flaw when your music is this impersonal and abstract, threatening a private conversation between musicians impervious to our eavesdropping.

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Photos by Steve Cohen

As the two guitarists settled into their respective roles, these worries subsided. Nace strummed and throttled his Gibson, manipulating the feedback swells he summoned into three-dimensional drones. A modest stage presence in flannel, he nonetheless lunged in what might have seemed like parodies of the classic guitar hero's characteristic poses if the physical effort hadn't been exerted to alter the sound his instrument produced.

Gordon contributed to the drone as well but also added little decorative bits on her Fender. She settled into bass-like pulses, or lightly thwopped muted strings with the butt of her palm, or slashed open-string chords, each adornment also contributing some forward motion more deliberate than Nace's ebb and flow. She toyed with a sharp, controlled feedback hum by disconnecting her patch cord and bringing its metal tip in contact with various parts of the guitar.

Twice during the set Gordon pulled out a harmonica, translating her breath into distorted metallic shards splattered against the backdrop drone. And, like Nace, Gordon also physically maneuvered her instrument for sonic effect, hoisting the guitar above her head and bouncing its sound off the objects on stage.


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