By virtue of its avant-garde style, art-rock has long received both critical acclaim and accusations of being “inaccessible.” On their latest release, Misery is a Butterfly, New York art-rockers Blonde Redhead attempt to bridge this gap between artistic integrity and melody.
Misery, the band’s first release in four years, is more fragile than their previous work. Heavy production has smoothed out the raw edges that once defined their sound. Each song is an intricate intertwining of guitars, tape loops, string arrangements and off-beat bass lines, creating an atmospheric and dramatic album. Coupled with dark lyrics that brood about relationships and betrayal, Misery has the feel of a soundtrack to a Tim Burton film.
The most distinguishable characteristic of the release is the haunting sound of guitarist Kazu Makinos and drummer Simone Pace’s voices. As they retell stories of love and loss, alternating between female vocals on odd-numbered tracks and male on even, Makino and Pace strain to sing several notes higher than typical vocalists. Dismal choruses such as, “Why did you kill that poor old man, Melody? / She said, ‘He was never good to me,’” fill the album, contributing to its eerie quality.
Misery opens with the more up-tempo “Elephant Woman” that incorporates harpsichords and a small orchestra. Another standout is “Maddening Cloud,” the lightest track, which takes several recordings of Pace’s vocals and combines them into a delicate harmony. “Pink Love” is the lone song where Pace and Makino sing together, accompanying electronic programming and distorted guitars.
All in all, Misery is a Butterfly displays Blonde Redhead’s evolution away from their angular roots towards a dreamier sound. While their music hints of sorrow, it doesn’t weigh the listener down or make him cry. Instead, it is the perfect background music for reflecting on your life. Misery becomes accessible by striking the right balance between catchy harmonics and artistic experimentation, making it a success.
