It’s almost unfair to pigeonhole Kim Gordon’s latest musical endeavor as a direct result of her 2011 split from musical and life partner Thurston Moore. But with a title like Coming Apart, that information just glares back at you. It shows up repeatedly in the various desolate corners of this album, one Gordon created with guitarist Bill Nace under the collective moniker Body/Head.

“I can only think of you in the abstract,” go Gordon’s eerie lyrics that begin the album, which were reportedly primarily made up on the fly. From the sound of it, the noises likely were, too. Coming Apart is a spacious record, but between those spaces lie a series of twisted, bleak, barren, and unbeautiful guitar scrapes. This band has only two members, both of whom use their electric guitars like daggers to conduct a nightmarish symphony of sheer unstructured noise.

Nace’s performance is inventive, and Gordon’s delivery is nearly meditative. There’s something circular about it, like a strange, dark cauldron chant delivered over a series of small explosions. But Coming Apart does not brace or assault you. It lets its cold, metallic blood drip all over you, drop by drop, until you gradually realize you are soaked. The tunes are rarely urgent, but always of the moment. Close to cathartic, but too prolonged to reach any kind of satisfying peak.

With song titles like “Abstract,” “Murderess,” and “Can’t Help You,” the mood is dark and the storm is continually gathering. But that’s what makes Coming Apart one of the most unique listening experiences you’re likely to encounter this year. Here we find eight tracks of original content, plus reworkings of the old folk tune “Black is the Colour (Of My True Love’s Hair)” and Nina Simone’s “Ain’t Got No, I Got Life.” Coming Apart tends to converge and diverge in equal capacity, never quite settling into any patterns. But who would want that — and who would ever expect that — from Kim Gordon?

(Matador Records, 304 Hudson St. 7th Floor, New York, NY 10013)