![]() ![]() With life suddenly on pause, Makino was drawn to Joan Didion’s The Year of Magical Thinking, a meditation on her husband John Gregory Dunne’s fatal heart attack at their dining-room table in December 2003. Sit Down for Dinner is a pandemic album through and through, from its protracted, piecemeal recording process-spanning several seasons, multiple studios, and at least two continents-to its overwhelming sense of restless stasis. But an insistent rhythmic pulse-powered by percussionist Mauro Refosco-punches holes through the sparkling surface, restoring the contrast between fine-china delicacy and dark-cloud distress at the core of this band’s most resonant work. Sit Down for Dinner honors that tradition with “Snowman,” which sets a deceptively languid tone with gleaming acoustic guitars and Amedeo’s beautifully sighed serenade. While they differed in style and scope, this band’s signature works- Melody of Certain Damaged Lemons, Misery Is a Butterfly, and 23-were united by a policy of swift and total immersion: Each led with a striking opening track that immediately thrust you into the album’s distinct three-dimensional sound, making it feel like you’ve been dropped into a film already in progress. ![]() Arriving nine years on from their last full-length release, Sit Down for Dinner is the life-saving dose of CPR that gets this band’s oxygen flowing and blood pumping again. Once the pandemic took hold, you could be forgiven for wondering if the band would still be standing on the other side of it. In 2019, Makino released her first solo album, by which point Blonde Redhead had all but ground to a halt. But that sort of frisson was in short supply on 2010’s Penny Sparkle and 2014’s Barragán, records that resembled mood boards of disparate sounds in search of songs, with little of the dramatic flair that powered the band’s previous transformations. In the stellar seven-album run from 1995’s serrated self-titled debut to 2007’s shimmering shoegaze odyssey 23, Blonde Redhead had successfully pivoted from no-wave noisemakers to arthouse-indie auteurs, all while sustaining a highwire balance of melodic whimsy and needling tension. 55 No.1 by Frédéric Chopin.There was a certain cruel irony in the fact a song that began as a time-killing lark-recorded by singer Kazu Makino while her twin-brother accomplices Amedeo and Simone Pace were sleeping at the studio-would become the defining work of a group that’s otherwise taken such a methodical approach to their craft. ![]() ![]() The song is based on the classical piece Nocturne Op. A slower arrangement plays over part of the flashback of Evil Morty's origin in " Unmortricken". It is featured at the end of the episodes " Close Rick-counters of the Rick Kind," played while Evil Morty destroys his eye-patch transmitter, and " The Ricklantis Mixup" played after Evil Morty is revealed to be the new president of The Citadel.īlonde Redhead later created a remixed version for Rick and Morty called More Coda, which plays during " Rickmurai Jack" when Evil Morty breaks open the Central Finite Curve and escapes into the rest of the multiverse. " For the Damaged Coda" is a song by Blonde Redhead, used as the unofficial theme song for Evil Morty. " Fathers and Daughters (Doo-Doo in My Butt)" ![]()
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