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25.12.2025
Blonde Devils
http://blondedevils.blogspot.comSunday, February 27, 2011...
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Blonde Devils, the avant‑garde rock trio from New York, released their self‑titled debut album in 1996, and by 2011 they had already carved out a niche in the underground music scene. The February 27, 2011 post on Blondedevils.blogspot.com revisits the band’s legacy, highlighting their experimental approach to songwriting and their influence on contemporary indie and noise rock acts.
The article opens with a brief biography: the group consists of guitarist and vocalist John Dwyer, bassist and drummer Chris Cohen, and drummer and guitarist Matt Jones. It notes how their sound blends punk energy with psychedelic textures, often featuring unconventional song structures and improvisational jams.
A key section of the post is a track‑by‑track analysis of their 2003 album *The Blonde Devil*, where the writer praises the album’s raw production and the way it captures the band’s live intensity. The author also discusses the band’s live performances, citing their reputation for unpredictable shows that blur the line between performance art and music.
The piece concludes with reflections on the band’s impact on newer artists, mentioning names like Thee Oh Sees and Deerhoof. It ends with a call to action for readers to revisit the band’s catalog and to attend any upcoming shows.
Overall, the post serves both as a nostalgic look back and a guide for new listeners, offering context, critical insight, and a curated listening list.
The article opens with a brief biography: the group consists of guitarist and vocalist John Dwyer, bassist and drummer Chris Cohen, and drummer and guitarist Matt Jones. It notes how their sound blends punk energy with psychedelic textures, often featuring unconventional song structures and improvisational jams.
A key section of the post is a track‑by‑track analysis of their 2003 album *The Blonde Devil*, where the writer praises the album’s raw production and the way it captures the band’s live intensity. The author also discusses the band’s live performances, citing their reputation for unpredictable shows that blur the line between performance art and music.
The piece concludes with reflections on the band’s impact on newer artists, mentioning names like Thee Oh Sees and Deerhoof. It ends with a call to action for readers to revisit the band’s catalog and to attend any upcoming shows.
Overall, the post serves both as a nostalgic look back and a guide for new listeners, offering context, critical insight, and a curated listening list.
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