Blonde Redhead

Fake Can Be Just As Good is the third album from the no wave-influenced Blonde Redhead. The album's constant nervous tension and dissonance evoke a sense of foreboding. It's almost as if the album were made specifically to convey anxiety, because every song is saturated with it. The songs are rich with noise and texture and punctuated by staccato lyrical delivery. The album's first track, "Kazuality," has a strong bassline that compliments Amedeo Pace's hard vocal phrases to give the song a great sense of urgency. The band's other singer, Kazu Makino, has a high-pitched, shrill voice that is interesting but at times can be irritating and whiny. "Oh James" is a nice blend of both voices. Again, a strong bassline underscores the desperation of Makino's piercing vocals. Pace's smoother voice brings an intermittent calm, although the guitars continually suggest chaos. "Futurism Vs. Passeism," which closes the album, is an inspired, moody instrumental that carries the band's dissonance and tension to the very end. [The 2002 Japanese re-release includes two bonus tracks: alternate versions of "Kazuality" and "Symphony of Treble."] ~ Tracy Frey, All Music Guide