Kim Gordon “PLAY ME” / Robyn „Sexistential”  

Kim Gordon
“PLAY ME”
(Matador Records)

Robyn
„Sexistential”  
(Konichiwa Records / Young)

Two of the most exciting albums of 2026 come from artists who – though arriving from very different musical directions – have for years stood for avant-garde obstinacy and innovation. The younger began as a Swedish child star and teen-pop hopeful before deciding to go her own way; the older became a member of the avant-garde punk band par excellence after art school: Sonic Youth. Kim Gordon’s creative power, in fact, seems to have truly flourished only after the (never entirely confirmed) end of Sonic Youth, despite her already pursuing side projects like Free Kitten, acting in films, and creating art installations during her time as the “Girl in a Band” (the title of her autobiography).

With PLAY ME, Gordon releases her third solo album in seven years, again in collaboration with Californian producer Justin Raisen, known for work with Charli XCX as well as trap rappers like Lil Yachty and Playboi Carti. Raisen’s splintered, nervous beats once again provide the perfect counterpart to Gordon’s cut-up lyrics, and yet quite a bit feels different here.
She discovered a new vocal register during the recordings, Gordon says. Nuances previously hidden now come to the fore, making the vocals more varied, as in the title-track opener, where she recites Spotify playlist titles over a swinging, jazzy trip-hop groove. The pre-sorted delivery of music according to moods and occasions is fascinating but also insulting and degrading, she suggests. The new tracks address political issues, internet hypes, and trends very directly; for example in “Square Jaw”, where exaggerated macho ideals lead to violence and rape culture: “put your lips together, baby, blow”, Gordon half-speaks, half-sings, “I sucker punch you”.

“Dirty Tech” likewise deals with the (over)power of technology and AI, which ultimately isolates: “talk to me, dirty tech”, she sings over deceptively relaxed sounds. In general, the music on PLAY ME is unusually catchy, accessible, at times almost pop – if it weren’t for the unsettling disturbances, like those in the danceable steel-drum-driven, seemingly cheerful “Girl With A Look”, constantly reminding us there is no reason for smooth, easy-to-consume off-the-rack music.
Particularly striking are the displaced beats and glitchy synths in “No Hands”, creating a threatening atmosphere intensified by lyrics about a driverless car some consider technological progress. “Busy Bee” ironically tackles the social media-fueled compulsion toward self-optimisation that ensnares even small children; Dave Grohl appears as musical guest and co-writer , likely responsible for the heavy rock edge.

Gordon closes the album with an intriguing self-reference: “BYEBYE25!” is a remake of “BYE BYE” from her previous album ” The Collective”, with new lyrics expressing disgust at the machinations of the current U.S. president. Keywords like TRANSGENDER or MEXICO suffice to expose the shameful reign of terror of Trump.

Robyn’s approach, by contrast, initially seems very private – yet her treatment of subjects like sex during pregnancy or desire as a single mother breaks social taboos. On Sexistential, arriving some eight years after Honey, nearly every track is about sex. Often explicitly so, as in the pre-release single “Talk To Me”, where Robyn asks her partner to talk to her so she won’t climax too quickly. The hyperactive title track, with beats bouncing as wildly as a pregnant body’s hormones, makes it clear that sexual urges don’t disappear just because there’s a baby in your belly, and they can’t be satisfied by apps.

Over the years, Robyn has repeatedly adjusted her personal parameters without ever fully “reinventing” herself; her output and outfits remained recognisable or, rather ,became trademarks’. With her own label, Konichiwa Records, the former “queen of sad bangers” (“Dancing On My Own”, “Show Me Love”) allows herself the freedom to release records only when she decides the time is right. Her consistently self-determined work has earned so many awards and nominations that she has a dedicated Wikipedia page just for them. Sexistential will likely extend that streak: Robyn’s unmistakable blend of optimistic disco-pop, avant-garde electronics, and karaoke-ready refrains glows from within and draws in even those still hesitating at the edge of the dance floor.

Both artists are touring these new albums: Kim Gordon’s European tour, including Berlin, begins in April; Robyn will support Harry Styles in Amsterdam, before launching her own solo tour in late summer.

Christina Mohr