Misery Is A Butterfly (Vinyl) ~ Blonde Redhead (Artist) Cover Art

Misery Is A Butterfly (Vinyl)

By: Blonde Redhead (Artist)

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Blonde Redhead Artist Snapshot:

Italian twins Amedeo and Simone Pace formed Blonde Redhead in New York City during the early 1990s with Japanese vocalist Kazu Makino. The group's brand of noise-rock earned them an unshakable comparison to Sonic Youth. Although the two groups indeed shared many musical characteristics, Blonde Redhead would go on to hone and expand its avant pedigree into something uniquely its own, emerging as one of the finest underground rock bands of the era.

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Review

Entertainment Weekly (3/19/04, p.65) - "[A] volatile mix with a touch of fidgety elegance." - Grade: B-
Uncut (4/04, p.104) - 4 stars out of 5 - "These are seductive confections, all blurred strings, magical chimes and tear-stained metaphysics."
CMJ (4/04, p.35) - "Densely layered and orchestrated, with swelling strings and keyboards often burying the twin guitars and drums of Kazu Makino and brothers Amedeo and Simone Pace, MISERY has a cinematic quality, as if its songs were art-house shorts."
Mojo (Publisher) (p.106) - 4 stars out of 5 - "[A]s the album title suggests, they've carved a bleak and beautiful album; their best, in fact."

Title Note

Blonde Redhead: Amedeo Pace (vocals, guitar, baritone guitar); Kazu Makino (vocals, guitar, clavinet); Simone Pace (drums, percussion, programming).

Additional personnel: Eyvind Kang (viola, violin); Jane Scarpantoni (cello); Skuli Sverrisson (bass).

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 them.

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