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BLONDE REDHEAD

Blonde Redhead

Sit Down For Dinner

    Blonde Redhead return with ‘Sit Down for Dinner,’ their first album in seven years and debut for section1. Its title a nod to the often-sacred communal ritual of sharing a meal with those you love, this immersive, meticulously crafted album appropriately serves an expression of persistent togetherness, a testament to the unique internal logic Blonde Redhead have refined over their three-decade existence.

    Understated yet visceral melodies charge each song, creating a foil to lyrics about the inescapable struggles of adulthood: communication breakdown in enduring relationships, wondering which way to turn, holding onto your dreams. Ultimately, ‘Sit Down for Dinner’ lands as perhaps the strongest record in a catalog that’s already as illustrious as it is varied.

    STAFF COMMENTS

    Barry says: A woozy mix of melodic pop melodies atop shifting progressive instrumental backdrops, taking in classic psychedelia and ambient electronica in equal measure. A beguiling and sensitive selection, particularly the eponymous duo of tracks. Lovely.

    TRACK LISTING

    1. Snowman
    2. Kiss Her Kiss Her
    3. Not For Me
    4. Melody Experiment
    5. Rest Of Her Life
    6. Sit Down For Dinner (Part 1)
    7. Sit Down For Dinner (Part 2)
    8. I Thought You Should Know
    9. Before
    10. If
    11. Via Savona

    Blonde Redhead

    La Mia Vita Violenta - Reissue

      Art-house kosmische from the battered basements of pre-9/11 New York. Polyrhythmic screamo for underemployed Gen-Xers and trust fund weed dealers alike. La Mia Vita Violenta, Blonde Redhead’s 1995 sophomore effort, in print as a definitive single LP for the first time since… ever.

      “These songs combine a raw need, a ready access to neediness, with seemingly incongruous cinematic changes reminiscent of ‘60s Italian pop music and movie scores. They switch between emotional grandeur and eye scratching immediacy.” - Arto Lindsay.

      TRACK LISTING

      Side A:
      A1 (I Am Taking Out My Eurotrash) I Still Get Rocks Off
      A2 Violent Life
      A3 U.F.O.
      A4 I Am There While You Choke On Me
      A5 Harmony

      Side B:
      B1 Down Under
      B2 Bean
      B3 Withdraw
      B4 Young Neil
      B5 10 Feet High
      B6 Jewel

      Blonde Redhead

      Barragán

        After a trio of releases as potent as 'Misery Is A Butterfly', '23' and 'Penny Sparkle', it shouldn't come as a surprise that the new Blonde Redhead album, 'Barragán', sounds so confident.

        There is continuity in the presence of producer/mixer/engineer Drew Brown, who was a key member of the team during the making of 'Penny Sparkle', and who made a number of telling suggestions along the way this time around. It was Drew who persuaded the band to head out to Key Club Recording in Benton Harbour, Michigan, where they encountered an amazing trove of vintage synthesisers – it was, in Kazu's words, "analogue heaven."

        When Blonde Redhead formed back in 1993 – initially a quartet, but, from 1995 onwards, the indivisible trio of Italian / Canadian twin brothers Amedeo and Simone Pace and Japanese sometime art student Kazu Makino – their music was obscured by their associations with post-No Wave art noise. The name was taken from a song by Arto Lindsay's short-lived band DNA and back then, these references suggested a band just out of step with fashion, doomed innocents stumbling into an inhospitable post-grunge landscape.

        But they're still here. And after 21 years it's suddenly obvious that Blonde Redhead have never made records for fame, or for money, or to ape their teenage heroes, or to indulge any of the dumb, ephemeral impulses that clog up the blogosphere with dumb, ephemeral music. They're making music, simply, because they have to.

        From the opening title track of 'Barragán', where acoustic guitars sway lazily alongside the flute-like tones of a Chamberlin synthesizer, it’s obvious that these songs breathe. The melodies occasionally flirt with folk music; outdoor sounds, including a suite of field recordings that Drew made in London’s Kew Gardens, are woven gently into the mix; and there is the odd moment where the band lets down their guard and leave a charming imperfection in the finished article. “Maybe we should work on it a little bit more” murmurs Kazu, midway through the spare, slinky “Cat On Tin Roof.” Tracks like “Dripping,” “The One I Love,” and “Defeatist Anthem” have all the emotional punch of previous high water marks like “Elephant Woman” and “23” – they just feel slightly less calculated, more serendipitous. And “No More Honey” has as much soar and swagger as anything else in the Blonde Redhead catalogue.

        STAFF COMMENTS

        Darryl says: With subtle and brooding guitars and occasional hazy electronics, Blonde Redhead return as classy as ever.

        Blonde Redhead

        Penny Sparkle

          "Penny Sparkle" was made over the last year with the band journeying between New York and Stockholm to work with production duo Van Rivers and The Subliminal Kid (Fever Ray, Glasser) with additional production work undertaken with Drew Brown (Beck, Charlotte Gainsbourg, Radiohead). As with their previous album, "23", Alan Moulder (Depeche Mode, My Bloody Valentine, Yeah Yeah Yeahs) was enlisted to mix it.

          Kazu Mazino from the band speaks of the record: “I can't say what Penny Sparkle is about just yet. I remember talking to Ed (from 4AD) one day and telling him that I had a vision that I was traveling to far away places to complete it. (Then) I landed in snowy slippery Stockholm... and here. Henrik and Peder in Stockholm and Drew in NY and after with everyone in NY again. I fell in love with the music like falling for someone you've known for a long time. It was dreamy and sometimes was very stormy. At times, I felt like a shepherd who was trying to herd five stallions into a yard (unsuccessfully). I felt like I was a link to everyone. I remained still and the others were constantly moving around it. I am not sure what Penny Sparkle is but I hope I offered to them as much as they offered me. I know that we have never made a record this way and if I could go back in time, I would do it exactly the same way again”.

          Blonde Redhead

          23

            It's been 14 years since their debut EP "Amescream" and 12 since their eponymous mini album, in which time they have undergone several changes of style, from the dreamy and exotic post-Sonic Youth landscapes of "Blonde Redhead" and "La Mia Violenta" to the jagged art rock of "Fake Can Be Just As Good" and the intensely personal "Misery Is A Butterfly", apparently an insight into Kazu Makino's melancholic state of mind after her trampling by a horse. What has tied them all together are Makino's eerie, aching vocals, an instinct for the sublime, and the passion that drips from every pore of their music; all of which are perfectly distilled in this, probably their finest album.


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