乐队第四张专辑,这张唱片已经和刚出道时的曲风发生了改变,是他们的第一次较大改变(第二次是转投4AD的那张脱胎换骨的《Misery is A Butterfly》)。他们在这张专辑中少了SY式的吉他噪音,多了一些跳跃,轻巧的音色。或许是因为他们想摆脱SY的影响另辟蹊径,又或者说在Indie大厂想不变都难,总之,他们的音乐在不断变化,也在不断摸索,这也正是Experimental Rock的精髓所在,他们也在曲风的改变中变得越来越成熟。
by Matthew Hilburn
The oft-used comparison to Sonic Youth doesn't really hold a lot of water, as Blonde Redhead's music has always been a bit less swirling, more spontaneous, and rougher around the edges. Further differentiating them from Sonic Youth is their bass-less approach. In an Expression of the Inexpressible, their fourth release, is as uncompromising as Fake Can Be Just as Good and La Mia Vita Violenta, but this time Blonde Redhead wanted to be produced by someone outside the band. The sound is fuller and more polished, and in the capable hands of producers John Goodmanson and Guy Picciotto (of Fugazi fame), they've never sounded quite as good. Still, Kazu Makino's high-pitched, Björk-ish vocals can get irritating at times, and the two guitars never quite reach a compelling level of interplay. Blonde Redhead, who sometimes are too clever for their own good, could, in fact, learn a great deal from Sonic Youth, since most of the tracks never come across with much urgency. [A Japanese reissue of the CD contains bonus tracks.]