Time & Perspective Quote by Kim Gordon

Kim Gordon’s sentence has the offhand sprawl of someone who’s spent decades in scenes where taste isn’t a fixed position but a moving target. She’s not delivering a manifesto; she’s sketching a map of credibility. “Obscure” and “noisy” aren’t insults here, they’re coordinates - a way of marking distance from the legible, market-ready version of rock. When she says “most of it is probably more obscure and just more noisy,” she’s acknowledging how extreme the work can get without apologizing for it. The hedge words (“I mean,” “probably,” “more”) function like stage banter: casual enough to avoid sounding precious, precise enough to signal that she knows exactly what she’s talking about.

The real point lands on “Thurston has stuff all the time.” That “all the time” is a portrait of artistic restlessness as habit, almost as compulsion. It frames Thurston Moore not as a legacy act coasting on Sonic Youth’s canon, but as a node in a larger experimental network - always collaborating, always drifting toward the margins where fewer people are listening. “Involved with” matters, too: it’s less about auteur genius than participation, showing how underground music sustains itself through scenes, not spotlights.

Subtext: obscurity is not failure; it’s proof of continued risk. Gordon is protecting a certain ethic - that the work’s value is tied to its willingness to be “noisy,” to resist easy comparison, even to famous reference points.