Blonde Redhead Albums Ranked

Blonde Redhead is an American alternative rock band composed of Kazu Makino (vocals, keys/rhythm guitar) and twin brothers Simone and Amedeo Pace (drums/keys and lead guitar/bass/keys/vocals, respectively) that formed in New York City in 1993. The band’s earliest albums were noted for their noise rock influences, though their sound evolved by the early 2000s with the releases of Misery is a Butterfly (2004) and 23 (2007), which both incorporated elements of dream pop, shoegaze, and other genres. They have released nine regular studio albums and have toured internationally. Here are all of Blonde Redhead’s albums ranked.

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10. Mélodie Citronique (2000)

“Interesting EP. “En Particuleur” is virtually the same as “In Particular”, but with a different mix and edit, and in French. “Odiata Per Le Sue Virtu” is “Hated Because of Great Qualities” in Italian with Kazu Makino’s surprisingly sexy delivery in that tongue. The highlight however is an original called “Chi è e non è”, a rare excursion to folk-rock territory and one of the best songs featuring Amedeo Pace on lead vocals.”

9. In An Expression Of The Inexpressible (1998)

“Expanding on the experimental noise rock they’ve mined well, they create some interesting sounds here, with massive guitars and kind of danceable epics. The vocals are atonal as hell. The melodies are all over the place but still fairly possible to collect. I’d imagine this will be hell to listen to while chemically imbalanced.”

8. Barragán (2014)

“Barragán places the band to a completely new territory, where tiny different patterns from their previous records were included – and count the old ones in too – and the result feels like a truncated hybrid. This is nothing what you’d expect from them.”

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7. La Mia Vita Violenta (1995)

“Not the band’s best by any means, this record opens with the stellar “Still Get Rocks Off”, but settles occasionally into an atonal funk. Luckily, the funk is as harsh and enthralling as they come, and this record, along with “Fake Can Be Just As Good”, contains some of the most abrasive, honest-to-goodness heavy music the band has put out, and will definitely come as a surprise to fans of the band’s later, gentler work.”

6. Blonde Redhead (1995)

“Blonde Redhead‘s debut album is a strong opener for them in a lot of ways, but it is very clear that it is not an altogether perfect entry onto the scene. From high points on the album, like “Astro Boy,” “Without Feathers,” and “Swing Pool,” there are gaps where it feels like the album is merely meandering forward, trapped in overly long riffs that just kind of end. The album’s opening track, “I Don’t Want U” does very little to sell the successive songs that come after it, which is unfortunate, because there is a lot of good material here.”

5. Penny Sparkle (2010)

“This is beautiful. It’s even dreamier than their last album but it’s also more disciplined, just a little more hushed, the synths sounding like they decided to borrow sounds from nineties trip hop. The female vocals are mesmerizing. You can hear the longing and the yearning, sometimes almost reaching a cinematic melancholy.”

4. Fake Can Be Just As Good (1997)

“Truth be told, I don’t actually know a lot about Sonic Youth. I’ve only heard Daydream Nation and EVOL a couple of times and watched some videos of their songs. From that, I can form the opinion that yes, Blonde Redhead does aspire to add some Sonic Youth-isms to their songs, be it the thunderous, inventive, shifting nature of the guitars, the guy who sings does have the same frazzled quality that Thurston Moore has and Kazu (the girl) has some whatthefuckisshesaying moments and a lot of ohmygodisshedying touches. The vocals are effective actually and the songs are clearer, more accessible than anything in Daydream Nation. This is filled with songs of high drama and overwhelming guitars. Well, I like it.”

3. Melody Of Certain Damaged Lemons (2000)

“Blonde Redhead’s fifth studio album is a gauzy, bohemian indie-rock effort, saturated with gothic vibes and showcasing a creative edge that places it highly within its somewhat overcrowded genre. The superb one-two combo of “In Particular” and the notably punchy “Melody of Certain Three” makes for one hell of an opening, while the remainder of the album retains a similarly high quality throughout. Kazu Makino and Amedeo Pace alternate on vocals from song to song, with Makino sounding fragile, distant, and trance-like, which makes for an engaging performance, while Pace delivers in a more straightforward manner during his turns, with his vocals often acting as a palate-cleansing counterpoint to Makino’s. Cohesive, short and experimental enough to keep things interesting, Melody of Certain Damaged Lemons is an indie-rock highpoint.”

2. 23 (2007)

“Fairly solid record that avoids the samey-sound problem that dream pop bands fall into. Well, it’s not exactly dream pop, since the vocals are a bit eccentric and the melodies trump mood, but hey, I digress. I’m actually reluctant to review this record because there’s so many separate and distinct elements of the music I like but can’t properly sum up. Maybe I’m too lazy to find the words for it since it’s 1 am here and I feel like posting reviews. That said, it was on my mp3 player on constant play for 2 months and I don’t feel sick of it when I go back to it, so all in all, a solid record.”

1. Misery Is A Butterfly (2004)

“The whiny, nasal vocals take a tiny bit of appreciation with a dash of “get over it”, but this record is fairly nice. The guitars have a nice jangle, the mid-tempo rhythm-centric section actually avoids being boring and the Clavinet inclusion is almost always on point in terms of tone colors. “Falling Man” (which is the only reason I found this record), “Melody” and “Pink Love” are my favs here.”