Blonde Redhead
Melody of Certain Damaged Lemons
[Touch and Go]
Rating: 7.8
It would be easy to dismiss most of Blonde Redhead's output as a triumph of
style over substance. Purveyors of all things avant-garde and chic in the
NYC indie underground, the group's hipness quotient is horribly precious.
Comprised of Japanese vocalist/guitarist Kazu Makino and Italian twins Amedeo
(vocals/guitar) and Simone Pace (drums), Blonde Redhead's self-consciously
arty clang has made me wish I was a hip "no-wave" New Yorker rather than an
mere enthusiast of this band's works.
Blonde Redhead's biggest detractors focus on the group's uncanny resemblance
to Sonic Youth. But while Melody of Certain Damaged Lemons won't exactly
silence such suggestions, it does seem to move conscientiously away from the
influences that have marred the group's previous work. The title itself makes
plain Blonde Redhead's musical M.O.: they've tempered their indulgences somewhat,
and begun focusing on integrating hooks and feeling into their cavalcade of
ringing guitars and propulsive percussion. It doesn't quite qualify as a pop
album, but it definitely serves as their warmest and most accessible record yet.
Perhaps the presence of Fugazi guitarist Guy Picciotto behind the boards has
had something to do with this progression. This album is as much an advancement
over Blonde Redhead's similarly Picciotto-produced 1998 LP, In an Expression
of the Inexpressible, as Expression was over 1997's Fake Can Be
Just as Good. Songs like "Melody of Certain Three" maintain the band's
archetype while strengthening their grasp of dynamics-- Simone still pounds the
drums in a murderous rage, but also leaves room here for some welcome tempo
change.
More surprising is "Loved Despite of Great Faults," certainly the closest the
group has come to writing a full-fledged love song. Amedeo's accented delivery
of lines like, "You will move with me/ We will stay still/ And words will move
around us," connect moreso than Kazu's typically orgasmic vocalizations. Kazu
is thankfully more restrained here without reducing her vocal contributions, the
finest of which is "This is Not." Easily one of the most puzzling tracks the
group has recorded, "This is Not" brings to mind what an unlikely collaboration
between Blonde Redhead and the Magnetic Fields might sound like.
While not necessarily distinguishing themselves immeasurably from setting and
influence, Blonde Redhead have begun to produce music that evades such nets.
The potential evidenced on Melody easily outdoes the band's previous
outings and hints at a full flowering of their work in the near future. After
all this time, the band are progressively figuring it out. So, rather than
musing ponderously on life in the elegantly wasted East Coast Babylon, I can
finally appreciate what it is Blonde Redhead are doing and expect them to
continue doing better.
-Hefner Macauley