![]() Her experiences had a profound impact on Blonde Redhead’s next album, March 2004’s Misery Is a Butterfly. During her recovery, she underwent facial reconstruction surgery and had to learn how to sing again. In 2003, Makino suffered severe injuries when she was thrown off a horse and trampled underneath it. ![]() Melodie Citronique, an EP that collected French and Italian language versions of Lemons songs as well as “Slogan,” appeared that October. Recorded with co-producer Ryan Hadlock at Washington State’s Bear Creek Studio, its songs explored Makino and Amadeo Pace’s romantic relationship and expanded on Inexpressible’s emphasis on melody and structure. The band reunited with Picciotto on June 2000’s Melody of Certain Damaged Lemons. Also in 1998, Blonde Redhead released a cover of Serge Gainsbourg’s “Slogan” as a single backed with “Limited Conversation” (both songs were included on the Japanese edition of In an Expression of the Inexpressible). Recorded at Hoboken’s Jolly Roger studio and co-produced by Goodmanson and Fugazi’s Guy Picciotto, the band’s fourth album featured some of their cleanest sonics and most melodic songs to date. Blonde Redhead eliminated bass and scaled back to guitars, drums, and vocals for September 1998’s In an Expression of the Inexpressible. Their first album on Touch & Go, it was produced by John Goodmanson and emphasized the tension between the aggressive and delicate sides of their music. punk scene, they invited Unwound’s Vern Rumsey to play bass on their next album, March 1997’s Fake Can Be Just as Good. Reflecting their growing closeness to the D.C. Recorded at several New York City studios including the Magic Shop, the band’s second album took inspiration from writer/filmmaker Pier Paolo Pasolini and boasted instrumental flourishes such as sitar.įollowing Yasuda’s departure, Blonde Redhead continued as a trio. Vincent) stepping in to record September 1995’s La Mia Vita Violenta. Takahashi left the band, with Toko Yasuda (who went on to play with Enon and St. That February, the band issued “Flying Douglas/Harmony” as part of Rough Trade’s Singles Club. Produced by Shelley, January 1995’s Blonde Redhead expanded on the group’s noisy guitar interplay and minimalist experiments and included contributions from their longtime friend, bassist Skuli Sverisson. After issuing a split single with Sammy on Misha Records, the band debuted on Sonic Youth drummer Steve Shelley’s label Smells Like Records with the single “Vague/Jet Star” and followed it with “10 Feet High/Valentine.” Hirano departed the group, with Maki Takahashi joining the band in time to record their debut album. ![]() ![]() Blonde Redhead gave a copy of the single to Sonic Youth’s Kim Gordon after a show with her project Free Kitten, which led to a gig opening for the alternative rock stars on a tour of Italy. With the addition of Simone on drums and Tada Hirano on bass, they became Blonde Redhead in 1991, taking the band’s name from a song on DNA’s 1981 EP A Taste of DNA.Īn early gig with Janitor Joe put Blonde Redhead on the radar of Oxo Records, which released the band’s debut single, “Amescream/Big Song,” in April 1993. However, Makino encouraged them to push their boundaries, and they incorporated alternate tunings and louder volumes inspired by My Bloody Valentine into their style. Named for the Godard film, the duo’s songs reflected the their love of artists such as Billie Holiday, Joao Gilberto, and the Rolling Stones. ![]() After a move to New York City, they met Japanese film student and classical music fan Kazu Makino (vocals/guitar) in 1990 through mutual friends Makino and Amadeo connected immediately and soon formed the project Masculin Feminin. Born in Milan and raised in Montreal, Amadeo Pace (guitar/vocals) and his twin brother Simone (drums) moved to Boston to study jazz at the Berklee College of Music. ![]()
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