Blonde Redhead乐队成员有Kazu Makino、Simone Pace 以及 Amedeo Pace。他们引用了纽约的No Wave艺术家D.N.A中的一首歌名(Blond Redhead)做乐队名,此后他们开始在纽约排练并演奏,掀起了纽约城地下现场的风暴,从电影配乐,到任何他们可以触及的地方。随后他们吸引了Sonic Youth乐队中Steve Shelley的注意,他迅速把Blonde Redhead签到了自己的厂牌Smells Like 旗下,并在1994年制作了他们的同名首张专辑。继1995年乐队自己制作的La Mia Vita Violenta专辑后,乐队签署了著名的芝加哥地下厂牌Touch And Go,并找来了Guy Picciotto担任新的制作人。
乐队在Touch and Go发行的专辑 2000's Melody Of Certain Damaged Lemons中的最后一首歌,标志了乐队在名望和利益上获得成功的转折点。该专辑赢得了他们从未享誉过的广泛赞誉,并让欧洲的歌迷们第一次感受到了乐队真正的魅力。
2003年,他们与贝格-4AD签订的第一个世界级别的录音合约,贝格-4AD是一家具有传奇色彩的英国独立唱片公司,旗下曾签约过The Pixies, Cocteau Twins, Dead Can Dance 等等。Blonde Redhead他们在贝格-4AD旗下签订的第一张专辑Misery Is A Butterfly,是华丽的,深刻而尖锐的,毋庸置疑这张专辑让他们取得了前所未有的巨大成功。Misery Is A Butterfly 确定了他们作为一个与众不同的乐队的地位,他们那自信,令人颤栗激动,细致入微,让人狂喜的音乐掳获了听众的耳朵,替他们获得了整批大量的新粉丝。这标志着他们已经远离了原来那种苦涩、质朴的调子,而为他们取得了很大的商业成功,并保持长达十年之久的稳定上升的轨道。
2007年,Blonde Redhead的回归,曾带来了一些更引人入胜的东西,专辑 “23”与上一张专辑一样在层次上非常丰富和密集,但Misery is a Butterfly专辑中那种充满了悲情的渴望、忧郁、遗憾的情绪已被非凡的神秘主义和一种全新的能量所取代。这种调调的转变并不值得大惊小怪——因为对乐队长期关注的人们可以见证,乐队的这种冲动不安,继续探索的渴望,和对艺术表现力的不断改进在整个乐队的职业生涯中贯穿始终,寻求“改变”是他们的常态。由他们自己创作的第七张专辑中那巧妙充满艺术性和戏剧效果的歌曲,也许这是他们最自信最能引起共鸣的专辑,从而标志了他们从此进入了伟大的专辑目录中。
2010年,Blonde Redhead将携带全新专辑PENNY SPARKLE再度和全世界的歌迷们一起共赴一场全新的音乐旅程。这张专辑于2010年9月14日发行。
Blonde Redheads noisy, dissonant guitars, alternate tunings, and quiet, stilted lyrics have often been compared to early Sonic Youth. After randomly meeting at an Italian restaurant in New York, Japanese art students Kazu Makino and Maki Takahashi and Italian twin brothers Simone and Amedeo Pace formed the band in 1993. The name was taken from a song by the 80s no wave band DNA. With Makino and Amedeo on guitars and vocals, Simone on drums, and Takahashi on bass, the bands chaotic, artistic rock caught the attention of Sonic Youth drummer Steve Shelley, who produced and released the bands debut album, Blonde Redhead, on his Smells Like Records label. Shortly after the albums release, Takahashi left the band. The remaining members continued as a trio, releasing a second album in 1995 on Shelleys label, titled La Mia Vita Violenta. For their 1997 release Fake Can Be Just as Good, recorded on Touch and Go, the trio was joined by guest bass player Vern Rumsey from Unwound. By 1998, the band eliminated bass and scaled back to guitars, drums, and vocals for In an Expression of the Inexpressible. Melody of Certain Damaged Lemons and the Melodie Citronique EP followed two years later. The bands first for 4AD, Misery Is a Butterfly, was released in spring 2004. For 2007s 23, the group opted for a mix of dream-pop and delicate electronic textures.