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Avis sur l’album

With each album since Melody of Certain Damaged Lemons, Blonde Redhead has made huge strides forward with their sound. Misery Is a Butterfly pitted fragile melodies against dark, swirling arrangements, and its tragic glamour turned the album into a cult favorite. On 23, the band trades the cloistered chamber rock of Butterfly for tone-bending dream pop and subtle electronics; while the wide open spaces sound a little bare at first, this streamlined approach ends up making this Blonde Redhead's loveliest and most accessible work yet. The group begins each album with a bold statement of purpose, and 23 is no different. The epic title track's delicate electronic rhythms, swooping, shimmering guitars, and majestically bittersweet melody pitch it somewhere between My Bloody Valentine and Asobi Seksu, showing how a more restrained Blonde Redhead can still sound lush and haunting. "Spring and Summer by Fall"'s streaming, comet-tail guitars and "Silently"'s thorny melody hark back to Melody of Certain Damaged Lemons, while "Heroine"'s vocoders sound surprisingly fresh, giving the song a fairy tale-meets-sci-fi vibe. This more whimsical, if not exactly lighthearted, feel flows through much of 23, especially on "Dr. Strangeluv," which boasts playful percussion and sparkling synths, and "Top Ranking," which layers Kazu Makino's vocals into futuristic girl group harmonies. However, Blonde Redhead hasn't ditched the brooding beauty of Misery Is a Butterfly entirely. "The Dress" is just as darkly stunning as any song on that album, with looping gasps and insistent guitars circling lyrics like "the fear starts creeping up when you have so much to lose," while "SW"'s melody and psychedelic brass interlude have a Butterfly-esque intensity. And as always, Blonde Redhead has a flair for haunting melodies, particularly on "Publisher," the chorus of which sounds peculiarly like Aerosmith's "Dream On." 23 is stunning — in fact, its only flaw might be that its track listing is a little top-heavy, resulting in an album with an amazing first half and a flip side that is only very good. Nitpicking aside, 23 is mysterious and modern, with an artfully strange beauty that is more memorable than perfection.

Avis des utilisateurs

Petit Miracle

Ce dernier opus des Blonde Redhead est une petite merveille tout en sucre et intemporalité ... L'album s'écoute en boucle, se bonifiant au fur et à mesure. Chaque chanson est une douce liqueur qui s'infiltre lentement ... une nouvelle "Heroine" ?

Blonde Redhead au top !

Désolé pour Chritian P., mais ce "23" n'a aucun rapport ni avec Garbage (une horreur !) ni Lush (une erreur !); le label 4ad n'a aucune incidence artistique sur le son des Blonde Redhead, même si ce Cd est plus "éthéré" que les précédents, et donc (pour les flemmards des oreilles) quelque peu dans la lignée des Cocteau Twins ou de This Mortal Coil. Ce 7ème album est un must absolu pour tous les amoureux d'une pop-rock sensible et intègre à la fois, bonne écoute !!!

toujours....

....aussi bien, un poil répétitif et confus par moment mais des titres comme "silently" et "spring by summer fall" restent de vrais bombes

Biographies

Formé(s) : 1993 à New York, NY

Genre : Alternative

Années d’activité : '90s, '00s, '10s

Moving from Sonic Youth-like art punk to eclectic pop over the course of their decades-long career, Blonde Redhead remained one of indie rock's most creative acts. The band formed in 1993 after Japanese art students Kazu Makino and Maki Takahashi randomly met Italian twin brothers Simone and Amedeo Pace at an Italian restaurant in New York. (The name was taken from a song by the '80s no wave band DNA.) With Makino and Amedeo on guitars and vocals, Simone on drums, and Takahashi on bass, the band's...
Biographie complète