That first record was Misery Is A Butterfly, an album that was recorded after Makino had suffered severe facial injuries after being thrown off of and subsequently trampled by a horse. It wasn’t until the band moved labels again, this time with 4AD (where they are currently signed) that “guttural” meant showing your insides. 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. In 2018, that's almost a comforting thought.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. Also, it's a good meme! It's not only fun because it allows people to highlight fiery devastation in slow-motion and black and white, but because it connects to our inner conspiracy theorist, certain that the source of our problems-from a sneaky blue shell in Mario Kart to an inconstant fiancé-is the work of a shadowy figure pulling all the strings. On Reddit, r/MemeEconomy is split about whether to invest in "For the Damaged Coda", but naysayers should think twice before shorting Rick and Morty's explosive fan base. Now that feeling is encapsulated in 15 seconds of an 18-year-old indie rock song. When fans realized what he was up to for the first time, it was like having the wool pulled from over their eyes, revealing the harsh realities of a cold and indifferent universe. He's willing to murder his allies as quickly as his enemies. "For the Damaged Coda" punctuates scenes in which Evil Morty, the only true challenge to Rick's absurd intelligence, reveals small pieces of his master plan. Their appearance on Rick and Morty episodes Close Rick-Counters of the Rick Kind and The Ricklantis Mix-Up catapulted Blonde Redhead into the Billboard charts for the first time.
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