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Recalling the no wave movement of the late '70s, the self-titled debut of New York City's Blonde Redhead is a glorious piece of dense, art-damaged noise, with songs that move from drifting melodicism to raging aural assaults in the course of a few measures. Taking their cues most directly from Sonic Youth (Steve Shelley produced the album), Blonde Redhead revel in noise and create vast sonic landscapes out of which songs naturally emerge. The focus here tends to be on atmospherics, and yet there is never the feeling of utter chaos; instead, the album functions like a work of controlled mayhem, referencing a wide range of musical approaches. The opening track, "I Don't Want U," starts off like jazz-rock, building momentum until it erupts in a blast of indie rock noise, anchored throughout by a steadily rolling bassline. "Snippet"'s quite-loud-quiet dynamics are offset by the driving rock of "Mama Cita," and the album's closer, "Girl Boy," comes across like delirious dream pop. The entire album is drenched in dense, multilayered feedback, with a rhythm section that works to keep the guitars in control, underpinning the attack. Blonde Redhead have created a great record, especially for fans of experimental rock: difficult, noisy, and exhilarating. ~ Brandon Gentry
All songs written by Blonde Redhead.
Recorded at Random Falls, New York in March, 1994. Includes liner notes by Harm Korn.
Personnel: Amedeo Pace, Kazu Makino (vocals, guitar); Simone Pace (drums).
Audio Mixer: John Siket.
Recording information: Random Falls, New York, NY (03/1994).
Photographer: Ari Marcopoulos.
Blonde Redhead: Kazu, Amedeo (vocals, guitar); Maki (bass); Simone (drums).
Additional personnel: Skuli (bass).
Alternative Press (12/94, p.75) - "...Produced by Sonic Youth drummer Steve Shelley, Blonde Redhead sound like a lower fidelity version of his band. If the godfathers of American post-punk recorded for K instead of Geffen it would pretty much come out like BLONDE REDHEAD..."
Option (11-12/94, pp.100-101) - "...Despite the quartet's obvious...huffing upon the SY [Sonic Youth] Whip-It, they exhale their muse with such intriguing results that one can only speculate what the level of creativity will be in several years..." Blonde Redhead Music Review Average Rating: (5 out of 5 stars)  let's get past the obvious associations...
Remarkable is a word that always catches me in a review. Its a powerful word and I'd say it's fairly accurate in the description of Blonde Redhead's debut self-titled album from 1994. Here lies a band comprised of two Italian twins, one assuming drums, the other working feverishly on guitar, and Kazu, a little japanese girl also taking the guitar. For this recording, I believe they also had a bass player (I know somewhere after the third album-with Vern Rumsey of Unwound! they just became a trio. Apparently they all met while doing some fine dining or at some event and it so happened that the three are all self-acclaimed gastronomes. Perhaps it's their background in delicious foods, but the music on this record is like biting into the richest flavors money can buy or sipping the finest wine in all of Italy. The initial taste is so devine, so succulent it makes you quiver at the knees. When the washed, worn, and faded blurring of guitars venture into sonic textures, it becomes hard to define what is rough and scraping when everything sounds so lush and weightless. When tracks like "astro boy", "snippet", and "swing pool" (three of my favorites) come on, its as if two hands are slowly being inserted into your abdomine and reaching up under your lungs and pulling out...pulling at your entire rib cage. But it doesn't hurt, it feels as though its a sensation you had been waiting for all your life and you can now pass on to your end with no regrets. So moving are some of the songs on this record, I can't help but pitty those who can only attach their minds to some excuse for ripping off Sonic Youth. I am an avid, adoring fan of SY, but there is no question in my mind that Blonde Redhead have their own style and they commit every last drop of depth and emotion they can muster and succeed quite triumphantly. I bow down to their abilities and strongly advise any inquiring person to take the risk. The only drawback would be the length, but for all the sprawling, spine bending sounds generated, its about all you can handle...
Submitted by eer_kandy (Sheboygan, WI, USA)
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Purchase Blonde Redhead CD To buy, Click on price to add to cart | Blonde Redhead Fake Can Be Just As Good CD (1997)
Blonde Redhead album
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Blonde Redhead combines elements of Japanese noise rock with avant-garde New York City rock guitars that fluctuate between softness and a buzz-saw grind. The band will do anything to make you notice. Steady, consistent drum beats, free of flashy fills, keep you focused on that guitar whirl, and high-pitched sound effects, which sound as if they could have come off a vintage Atari video game, accentuate it.
FAKE CAN BE JUST AS GOOD, the band's third album, finds Unwound bassist Vern Rumsey filling in for the departed Maki Takahashi, and Rumsey's deep bellows strike a neat balance with those shrieking guitars. Together, they build jagged rhythms, which they can ...
| | Blonde Redhead In An Expression Of The Inexpressible CD (1998)
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The musically agile trio Blonde Redhead's combination of the eccentric art rock of 1960s underground cult favorites like the United States Of America with the downtown no-wave-ism of late 1970s bands like the Contortions may do the band no favors in the commerciality stakes. But their second album for the Chicago independent label Touch & Go is a tour de force of amiable eccentricity.
The band's searching, energetic explorations are much in evidence from the outset, with their singer Kazu Makino's free-form vocals underpinned by an angular, unsettled rhythm section on the title track, and the whole band tumbling down a post-rock wormhole on the chaotic "This Is For Me and I Know Everyone Knows." The stuttering rhythms of "Luv Machine" lead that song into prog-rock territory, though the slightly more staid "Distilled" shows that they're capable of keeping up with their more rock-oriented contemporaries, and "Led Zep" displays an airiness that's more a tribute ...
| | Blonde Redhead Melody Of Certain Damaged Lemons CD (2000)
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No track on this trio's fifth album follows, directly or logically, the shape or style of the track preceding it. And that's ok, as Blonde Redhead's modus operandi is to produce a head-spinning musical melange, amassed from a multiplicity of sources, that will leave you and your ears dazed but happy.
True to form, the band launches into an ethereal, Stereolab-influenced "In Particular" after the opening mini-track's sonic blast. There is an initial kitchen-sink, frenetic similarity between Blonde Redhead and Solex, though the former is the more verbal, softer of the two. This similarity is shattered, however, by "Loved Despite of Great Faults," a measured, modest ballad with just a touch of Brian Wilson's wistfulness to its late-Beatles-meet-the-Kinks patina. Throughout it all, Kazu Makino and Amedeo Pace trade off sweet and captivating vocals, breathing life into subtly compelling ...
| | Blonde Redhead La Mia Vita Violenta CD (1995)
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With their second release, La Mia Vita Violenta, Blonde Redhead maintain their organically low-fi aesthetic and continue to prove themselves as one of indie rock's real triumphs. Even after the departure of guitarist Maki Takahashi, they still make more noise with three people than most bands could make with ten. Guitars tear into the songs -- pointed, direct, and tough -- while the vocals of Kazu Makino and Amedeo Pace weave tightly into drummer Simone Pace's impeccably precise backing. Timing is everything, and Blonde Redhead certainly have it. They're dirty when they need to be and crystal-clear when the situation calls for it. Never angry, the trio plays hard and fast to the point where the instruments seem to play themselves with the deftest of precision. The production is so skillful that even with the most Spartan of recording gear, guitars end up sounding synthetic, in that painting-looks-like-a-photograph kind of way. ...
| | VH1 Presents The Corrs Live In Dublin CD (2002)
Blonde Redhead album
$6.39 
This audio document of The Corrs' Dublin homecoming concert has pretty much everything fans of Irish pop could wish for, including an appearance from Bono in his earthly incarnation, fresh from an audience with President George W. Bush. It's to the band's credit that the charismatic singer fails to steal the show, despite creditable efforts via an anthemized version of Ryan Adams' beautifully downtempo "When the Stars Go Blue," and a great, leering rendition of Lee Hazlewood and Nancy Sinatra's "Summer Wine."
Somewhat more mysteriously, Rolling Stone Ron Wood also turns up on what sounds dangerously close to a lounge version of Jimi Hendrix's "Little Wing," but this minor faux pas is redeemed by the Irish folk medley "Joy of Life/Trout in the Bath" which arguably features more full-on Irishness than the Dublin production of RIVERDANCE. There's also a lovely rendition of Neil Young's "Only Love Can Break Your Heart" that's topped only by Ron Wood's reappearance on a finale of the Stones' "Ruby Tuesday." VH1 PRESENTS THE CORRS LIVE IN DUBLIN is a fine mix of the band's greatest hits with ...
| | Blonde Redhead Misery Is A Butterfly CD (2004)
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Moving from their longtime home at Touch & Go to the renowned 4AD label, NYC art-rockers Blonde Redhead have made telling sonic adjustments, trading in their noisy, abrasive edge for a refined, often orchestral sound. The trio--Kazu Makino and twin brothers Amedeo and Simone Pace--makes the transition clear from the get-go on "Elephant Woman," which features Makino's breathy vocals over a backdrop of harpsichord, strings, and light percussion. Melancholy is certainly the main theme of this album, as exquisitely exemplified by the title track, a somber, keyboard-driven piece that borders on chamber music. However, just when the proceedings verge on the morose, the band emerges with two upbeat songs, the swirling, Stereolab-like "Pink Love" and the guitar-driven grandeur of "Equus," revealing that they can still rock when the mood strikes ...
| | German Jazz Festival: 1954-55 CD (Import) Germany
Blonde Redhead music CDs
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| | Aniceto Molina Condor Legendario CD (2003)
$11.29 | | Miles Davis Four CD (2004) (Import)
Blonde Redhead songs
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| | Hurt Process Drive By Monologue CD (2004)
Blonde Redhead album
$10.39
On their first full-length release, the Hurt Process played a formulaic brand of rock common to the late '90s and early 2000s -- that is, a blend of punk, hardcore, metal, and pop; much alternation of all-out crunching passages with more subdued, contemplative ones; and vocals that ran the gamut from a throat-full-o'-razor-blades growl to high, yearning sweet harmonies. It might not be too distinctive, but it's tight and well done here, almost slickly so. "I'm just drowning in confused emotion, I don't know where to...stand and how to feel," they sing in "Clarity," and that's a sentiment that runs through much of the material: young guys in turbulence trying to connect in the face of a reality that's more difficult and complex than they're prepared for, though the tone isn't as despairing here as it is in many releases of this sort. A lot of it turns out to be about stormy personal relationships when you read the fine print, though their horizons aren't strictly limited to such subject matter, as demonstrated by the pirate tale "The Beast Sails In" and some other lyrics here and there. Perhaps this is the reaction of a "rockist," but they would have done well to dispense with the almost gratuitously ugly, gravelly vocal bits and focus on the more conventional higher-range singing and harmonies, ...
| | Step Right Up: The Songs Of Tom Waits CD (1996)
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Fifteen-song tribute album to Waits, dominated by alternative rockers, although a couple of previously released items (Tim Buckley's 1973 cover of "Martha," and 10,000 Maniacs' 1992 cassette single B-side "I Hope That I Don't Fall in Love with You") were licensed for the project. It's above-average as tribute discs go, with a diverse lineup (Alex Chilton, Dave Alvin, Pale Saints, Frente!, Archers of Loaf, Pete Shelley, the Wedding Present) taking care to invest their contributions with some imagination. Some Tom Waits fans may find the interpretations too aggressive and arty, and on occasion the approaches are annoying (the Violent Femmes' smirking walk through "Step Right Up," Jeffrey Lee Pierce's white-boy rap on "Pasties and a G-String"). It deserves points for not just throwing together lukewarm variations on the originals, though, but trying to come up with something different, as Drugstore does on its Velvet Underground-like version of "Old Shoes." Other highlights are the Tindersticks' torpid loungeoid cover of "Mockin' Bird," and Magnapop's sultry reading of one of Waits' grimmest pieces, "Christmas Card from a Hooker in Minneapolis." ~ Richie Unterberger
Tindersticks,P.Shelley,Violent Femmes,A.Chilton,D.Alvin,Weddi
Recorded between 1973 and 1995.
Tributee: Tom Waits.
Audio Remasterer: Dave Schultz.
Producers: Drugstore (track 1); Philip Tennant (track 3); The Wedding Present (track 4); Dave Vartanian, ...
| | Tribute To The Darkness CD (2004) (Import) United Kingdom
Blonde Redhead music CDs
$17.09
The U.K. edition of Tribute to the Darkness is identical to its stateside counterpart. It consists of mildly amusing, to satisfactorily metal, to just plain ugly cover versions of the Darkness catalog, padded with tracks from the band's influences. There's a lukewarm live version of "Cum on Feel the Noize" by Quiet Riot, for example. Fans can save the grief with a purchase of the Darkness' actual album, Permission to Land, as well as a few greatest-hits sets from their forebears (Judas Priest, Queen, etc.). ~ Johnny Loftus
Tributized's Tribute to the Darkness proves that imitation isn't always the sincerest (or at least, best) form of flattery: This collection of no-name bands performing lackluster renditions of the songs from Permission to Land makes tracks like "Givin' Up" and "Get Your Hands Off My Woman" sound like the dull, conventional cock rock and hair metal that the Darkness was the antidote to in the first place. New York No Stars and Blockk 16 take the aforementioned songs in different, but not better directions; meanwhile, U.K. Rock Brigade turns in weak facsimiles of "Love Is Only a Feeling," "Friday Night" and "Stuck in a Rut." Even though the band more or less approximates the sound of the Darkness, the lack of charisma in their playing and in their Justin Hawkins-wannabe singer's voice leaves a gaping hole in their sound. On their cover of "Growing on Me," Pure 13 manages to sound both somewhat decent and somewhat different from the Darkness, but that's not a huge accomplishment, considering their competition. Tribute to the Darkness also includes songs by some of the bands that influenced the Darkness' glam metal-pop sound, including Quiet Riot's "Cum on Feel the Noize" and Steve Grimmett's "The Boys Are Back in Town." Including these older tracks is the only creative moment on the album, even though mixes of Sweet's "Ballroom Blitz" and Lemmy's "Tie Your Mother Down" once again prove to be inferior to the originals. Fans of the Darkness should stick with Permission to Land and check out greatest-hits collections by the bands that appear here (not to mention Queen and Judas Priest) if they're so ...
| | Summer Dancin' 80'S & 90'S CD (2001)
$7.15 | | Voyager: Georgia-Polyphony CD (1995) (Import)
Blonde Redhead songs
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