blonde redhead for the damaged coda lyrics

#BLONDE REDHEAD FOR THE DAMAGED CODA LYRICS FULL#

#BLONDE REDHEAD FOR THE DAMAGED CODA LYRICS FULL#

Within the catalogue, Makino and Amedeo have written reciprocal love songs, but most of the band’s output is full of lyrical abstraction or nods to other out-there endeavors, like the work of Italian film director Pier Paolo Pasolini, whose work included a film called Salò, which is the cinematic interpretation of the Marquis De Sade’s 120 Days Of Sodom. Throughout that time, the band’s music had only hinted at certain emotions. In the next stage of their career, they sign to Touch & Go and work with Fugazi’s Guy Picciotto, who unearths their ability to create even more focused grit. While working with Shelley, it means driving noise-rock with breathless shrieks and insane guitar harmonies. But it’s not just the SY co-sign, or how meticulously and stylishly dressed each member of the trio is, it’s that they are constantly evolving their sound, which remains a definition-defying version of guttural. The band’s origin story is seemingly almost too precious to be real: Two Japanese female art students (Makino and former bassist Maki Takahashi) meet Italian gourmand twins while living in New York City and form noisey art rock band that gary release two LPs (Takahashi is already gone for the second) that catapult them into their own indie stardom. It’s a teeth-gnashing performance, even when they’re performing their softer material, and makes you feel like you’re living in a universe they’ve conceived. If you’ve ever seen the band, which also includes twin brothers Amedeo (guitar/vocals) and Simone (drums) Pace, then you know their live show are anything but pallid - Makino and Amedeo, who are an item, riff off of each like two magnets of the same polarity being forced toward one another, wobbling back and forth, fighting to stay together, while Simone, somehow both stoic and savage at the same time time, methodically beats the fucking life out of his drum kit. I think that’s one of the reason I play music … certain moments you feel really alive.” “I often feel a little bit detached or quite separated from everything else around, so whatever makes me feel alive, that’s important to me.

“I often have a hard time feeling like I’m alive,” Makino says. Over the years, their musical palette has continued to grow, with Melody of Certain Damaged Lemons showcasing their keen ear for melodies, the pensive Misery Is a Butterfly smoothing out the rough edges, 23 shrouding their sound in shoegazer fuzz, and Barragán stripping the band’s songs down to their essence.If you Google “Kazu Makino interview,” the first thing that pops up is a YouTube video of the Blonde Redhead guitarist-singer talking about how she doubts her own existence. Takahashi departed shortly thereafter, and Blonde Redhead carried on as an ever-evolving trio. Their self-titled debut, released in 1994, was produced by Steve Shelley of noise-rock kings Sonic Youth. A chance meeting at a downtown restaurant led to art students Kazu Makino and Maki Takahashi teaming up with twin brothers Simone and Amedeo Pace to form the band, which quickly attracted the attention of the New York experimental-music scene. Since 1993, the New York trio Blonde Redhead have been one of indie rock’s most exciting acts, taking the noise-rock influences that defined them at the outset and adding them to increasingly pop-minded songs.

Blonde redhead for the damaged coda lyrics