Available languages: EnglishMoving from Sonic Youth-like art punk to eclectic pop over the course of their decades-long career, Blonde Redhead remained one of indie rock's most creative acts. The band formed in 1993 after Japanese art students Kazu Makino and Maki Takahashi randomly met Italian twin brothers Simone and Amedeo Pace at an Italian restaurant in New York. (The name was taken from a song by the '80s no wave band DNA.) With Makino and Amedeo on guitars and vocals, Simone on drums, and Takahashi on bass, the band's chaotic, artistic rock caught the attention of Sonic Youth drummer Steve Shelley, who produced and released the band's debut album, Blonde Redhead, on his Smells Like Records label. Shortly after the album's release, Takahashi left the band. The remaining members continued as a trio, releasing a second album, La Mia Vita Violenta, on Shelley's label in 1995. For their 1997 release, Fake Can Be Just as Good, recorded for Touch & Go, the trio was joined by guest bass player Vern Rumsey from Unwound. By 1998, the band eliminated bass and scaled back to guitars, drums, and vocals for In an Expression of the Inexpressible. Melody of Certain Damaged Lemons and the Melodie Citronique EP followed two years later. The band's first for 4AD, Misery Is a Butterfly, was released in spring 2004. For 2007's 23, the group opted for a mix of dream pop and delicate electronic textures. Three years later, Blonde Redhead delivered Penny Sparkle, a more stripped-down, even more electronic-leaning set of songs the band recorded in New York and Stockholm with Alan Moulder, Van Rivers, and the Subliminal Kid. In 2014, Blonde Redhead returned with Barragán, featuring production from Drew Brown (Beck, Stephen Malkmus, Radiohead). The band revisited its early days in 2016 with the Numero Group box set Masculin Feminin, which collected Blonde Redhead and La Mia Via Violenta along with demos, singles, and radio performances from that era. That year also saw the release of Freedom of Expression on Barragán Hard, a collection of Barragán remixes including contributions by Deerhoof, Van Rivers, Nosaj Thing, and Connan Mockasin. Blonde Redhead returned with new music in 2017 in the shape of the EP 3 O'Clock, which they released on their own Asa Wa Kuru Records.
© Tracy Frey /TiVo
25 albums gesorteerd op Meest aanbevolen
Mijn zoekopdracht verfijnen
Alternative en Indie - Verschenen op 10 april 2007 | 4AD
With each album since Melody of Certain Damaged Lemons, Blonde Redhead has made huge strides forward with their sound. Misery Is a Butterfly pitted fragile melodies against dark, swirling arrangements, and its tragic glamour turned the album into a cult favorite. On 23, the band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead's loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. The epic title track's delicate electronic rhythms, swooping, shimmering guitars, and majestically bittersweet melody pitch it somewhere between My Bloody Valentine and Asobi Seksu, showing how a more restrained Blonde Redhead can still sound lush and haunting. "Spring and Summer by Fall"'s streaming, comet-tail guitars and "Silently"'s thorny melody hark back to Melody of Certain Damaged Lemons, while "Heroine"'s vocoders sound surprisingly fresh, giving the song a fairy tale-meets-sci-fi vibe. This more whimsical, if not exactly lighthearted, feel flows through much of 23, especially on "Dr. Strangeluv," which boasts playful percussion and sparkling synths, and "Top Ranking," which layers Kazu Makino's vocals into futuristic girl group harmonies. However, Blonde Redhead hasn't ditched the brooding beauty of Misery Is a Butterfly entirely. "The Dress" is just as darkly stunning as any song on that album, with looping gasps and insistent guitars circling lyrics like "the fear starts creeping up when you have so much to lose," while "SW"'s melody and psychedelic brass interlude have a Butterfly-esque intensity. And as always, Blonde Redhead has a flair for haunting melodies, particularly on "Publisher," the chorus of which sounds peculiarly like Aerosmith's "Dream On." 23 is stunning -- in fact, its only flaw might be that its track listing is a little top-heavy, resulting in an album with an amazing first half and a flip side that is only very good. Nitpicking aside, 23 is mysterious and modern, with an artfully strange beauty that is more memorable than perfection. © Heather Phares /TiVo
Pop - Verschenen op 15 juni 2018 | Asa Wa Kuru