The trio claims to hold an undying love for soundtracks, which is not entirely difficult to comprehend. “Heroine”, like the other songs on the album, is easy to imagine in a deep movie, which makes perfect sense considering the band’s off-stage hobbies. Another highlight of the album, “Heroine”, has Kazu’s naturally etched voice cloaked in a vocoder, though it comes off as sounding surprisingly and distinctively natural. Though the comparison may come off as a bit generic, those who have both the Sega game and The Beatles album forever trapped in their nostalgic minds may agree. Through stylistically polished production and clever songwriting, the genial “SW” has moments that, as odd it may sound, conjures up memories of the atmospheric Marble Gardens level from the retro “Sonic the Hedgehog”, as well as certain brass incorporations that The Beatles redefined with the classic Sgt. Though it may be exclusively personal, I have also learned that 23 can bring back even the most oddest and nostalgic childhood memories. Another track that I found to be exceptionally enjoyable was the excitable indie-pop of “Spring and by Summer Fall”, which can nearly pass for an grandiose sing-a-long after several repeated listens. The three songs that Amedeo sings on are all equally as solid, with “SW” and “Publisher” being slightly more reminiscent of their previous album, Misery Is a Butterfly. Strangeluv” and minimalist synth-driven “Top Ranking”. The album’s first single, “Silently”, is the most playfully illuminated song on the album, though as far as Kazu’s vocal songs go, I prefer the curiously inviting “Dr. While Kazu’s voice has become slightly gentler in nature, Amedeo’s vocals still have the pleasantly emotional whine of previous albums, causing both Kazu’s and Amedeo’s vocals to integrate into the music and stylistic composition perfectly. Amedeo Pace shares guitar duties with Kazu while his brother, Simone, plays drums and occasional bongos, an instrumental aspect that is starting to gradually increase into the band’s ceaseless repetroire. 23 begins with a bittersweet tug into Kazu Makino’s voice, fronting exceptionally well layered music that is as catchy as it is haunting. These aspects caused me to retrace my steps and listen to their older albums which now, while looking back, I question myself why I was not particularly fond of them all those years ago. Aside from the initial irresistibility, 23 was a major contributing factor that instilled in me a realization of the band’s strengthening focus on songwriting and originality. Though I realize that nearly every music blog and publication have covered this gem by now, I simply could not resist. Released last week on 4AD Records, it has received a large amount of acclaimed press and has already sold over 11,000 copies after its first week of release. Though I was previously not much of a fan and I had only enjoyed a few songs, Blonde Redhead’s newest album, 23, grabbed me instantly. While the changes are somewhat subtle between each of their albums, the transitions are more than apparent between any two nonconsecutive releases. On October 30th, 2017, an orchestral remix of the track was uploaded by user Tommy Lapointe Blondin, gaining over 272,000 views.Since their debut in 1995, Blonde Redhead has been evolving, and without sacrificing any of their originality, their style has increased into an aspect that is progressively more melodic and suitably decorous. Several popular remixes appeared on YouTube after "Tales From the Citadel." A Trap remix of the track posted by Trap City on September 13th, 2017, gained over 32 million views (shown below, left). A piano cover of the track posted by ThePandaTooth on May 8th, 2017, gained over 1.7 million views (shown below, right). The theme saw some popularity prior to the airing of "Tales From the Citadel." An extended cut of the song posted by YouTuber Server on April 17th, 2017 gained over 10 million views (shown below, left). It became much more popular after it was used in the Season 3 episode "Tales From the Citadel," which aired September 10th, 2017 (shown below, right). The episode aired April 7th, 2014 (shown below, left). The song saw a slight surge in popularity when it was used in the Season 1 Rick and Morty episode "Close Rick-counters of the Rick Kind" as the theme for Evil Morty.
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