In the Part I, I talked about how Röyksopp used tight weaving, hiding musical elements to create some complex, blurry ways to delight the audience.
Blonde Redhead is an alternative rock-band from New York City. It’s totally different than Röyksopp but they have a trait in common. Their way to use the production, the sound, often “complex and blurry”, drowned in reverb.
It’s often an awful low-level cunning trick, used by thousands of lazy groups playing the female-singer-whispering-melancholy-in-reverberation. But Blonde Redhead are masters, and they use it craftily, losing you in bliss, because it’s rich, complex, and harmonically inventive. You just HAVE TO prick up your ears!
Let’s go. Gimme some sound, dear. Thanks.
SW opens like in a WALL of throbbing grey bass, a droning cloud where you can not distinguish what’s happening. Echoes, piano, weaved guitars, bass, maybe? It’s blurry and complex. The instrumental break is a double-line melody surrounded by a bumpjumping piano (do you hear it?). They are aware of it and they play with that : some words appear sometimes more clearly out of the reverb (“it’s not what it seems”), as is they were coming close to you for a second. It’s like painting! The end is a disintegration, an über-reverberated coil of sounds in a golden space. Listen to the bass work, here… Next to this, even The Cure would lose their bearings (or eggs)! C’est beau, non ?
Silently begins more normally – though you can try (and fail) to separate the elements of music. Behind the clear things (the voice, a bass, the percs), it’s a decor of veils, passing things and overdriven clouds.
The structure I see (or I decide to find) in Blonde Redhead, in Röyksopp, it the same
The talent to build something rich and complex, but you don’t BOAST.
Put the surprises and the magic INTO the pastry. Hide them carefully.
Force the audience to listen, to taste, to find where all this pleasure comes from.
To me, it’s high level baking, nothing else.
Thanks for reading!