On first impression this is a tale of two guitars, almost always separate in the mix, playing improvised abstract noise. However at the heart of it all is the voice of Kim Gordon, familiar to many from 30 years in Sonic Youth, but it is also a voice that is keen to re-define itself. At times intoning the words like she did within the band, yet at other times it is a howl, a haunted echo, deliberately lost in the mix as another instrument.

Although the solo post-Sonic Youth endeavours of the band's individual members have all been well received Coming Apart is possibly the first to really break new ground. It would be unfair to label Body/ Head a solo project however, as this is a collaboration between Kim and the improv guitarist Bill Nace, a musician who is no stranger to Sonic Youth's world. Nace was in the noise duo Northampton Wools with Thurston, and some early limited edition releases as Body/Head were released on Moore's own Ecstatic Peace label. Coming Apart is billed as Body/ Head's debut album however, and it is as unsettling as it is impressive.

The first four pieces work together as a whole and, lyrically at least, seem to come across as an attempt to deal with what has happened since Gordon's life changed after the end of her marriage and the end of her band.

This is not background music, in fact it works best on headphones as it actually draws you in. The opening track 'Abstract' drifts in subtly, although the repeated line "I can only think of you in the abstract" suggests that there is a storm brewing, it breaks down towards the end, the guitars crackling and howling, concluding in an abrasive, cathartic clatter.

'Murdress' (sic) is a minute long; less improvised but no less unsettling. Her voice wavers over a threatening bass pulse, yet that voice sounds sedated and subdued.

'The Last Mistress' is all over the place, a discordant clang that could be a Sonic Youth run-out groove mixed with pure noise guitar, and a visceral vocal switching between the droning melody and shouts and whoops, bursts of controlled anger. The lyrics compare this "last mistress" to a dog pissing to mark its territory, and the music is equally brutal.

'Actress' is more percussive string crackle, and the voice changes again, as the lyrics ramble and rant, like someone calling out in their sleep. It may be least easy listen here and that is saying something.

They draw a line under that section with an untitled droning piece made up of warm unusual chords, before unsettling us again with 'Everything Left' which sees her battling with her voice, which is distorted and looped beneath the main vocal where she tries to sing words. Again this is a challenging listen although it is hard to fault the execution. The guitars crackle and defy convention, the signals sound broken and difficult to interpret. By contrast 'Can't Help You' is the most familiar sounding piece, recalling the more improv/noise elements of Sonic Youth as well as pulsating drones worthy of Kevin Shields.

'Aint' is technically a cover version, although it took two listens for me to realise this. It is a bluesy chant stretched out for six minutes, based around the Nina Simone hit 'Aint Got No/ I Got Life'. With all the familiar rhythm removed, she intones the words over a trance like pulse of guitar feedback.

The second part of this double album consists of two side long pieces. The first, 'Black', is a thirteen minute improv very loosely based on the traditional folk song 'Black is the Colour of my True Love's Hair' though in the first five minutes the guitars pulse and squeal so much that it is hard to tell if there is a tune underneath. Again Kim's vocal delivery is pained and elongated and totally apt, and it is recorded in a more lo-fi way at the coda so it sounds even more honest and intimate.

'Frontal' closes the album and it varies a lot over its seventeen minute duration. It is the most downbeat and confessional, there are lots of abrasive Dead C- style noises and guitar manipulation but there is also a hint of a refrain - "I feel so weak and so stupid too/ I feel like losing myself to you" intones Kim as the music drifts and rises to a climax.

Overall this album may be too raw and difficult for a lot of fans to take in, but as an artistic impression of the post-Sonic Youth flux it is pretty great. Bill and Kim's guitar improvisations and drones create a trancelike backdrop and Gordon sounds like she is singing in a bad dream.

This is one of the most uneasy listens of the year but, for fans of this music, it is essential.