#For the damaged coda compilation free

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.

#For the damaged coda compilation free

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. On October 30th, 2017, an orchestral remix of the track was uploaded by user Tommy Lapointe Blondin, gaining over 272,000 views.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. Several popular remixes appeared on YouTube after 'Tales From the Citadel.' A Trap remix of the track posted by Trap City on September 13th, 2017, gained over 32 million views (shown below, left). A piano cover of the track posted by ThePandaTooth on May 8th, 2017, gained over 1.7 million views (shown below, right). The theme saw some popularity prior to the airing of 'Tales From the Citadel.' An extended cut of the song posted by YouTuber Server on April 17th, 2017 gained over 10 million views (shown below, left). It became much more popular after it was used in the Season 3 episode 'Tales From the Citadel,' which aired September 10th, 2017 (shown below, right). The episode aired April 7th, 2014 (shown below, left). The song saw a slight surge in popularity when it was used in the Season 1 Rick and Morty episode 'Close Rick-counters of the Rick Kind' as the theme for Evil Morty.