COMMENTS

March 1, 2004 - interview with Tim Blanks

Chris Stein: "With our last record, No Exit [1999], the title was taken from a Sartre play, which says there's no madness in individuals, it's all in groups. I think that's probably what all these reality TV shows are about. Maybe we were a reality TV show before there was reality TV."

-- press release (by Glenn O'Brien)

[...]

The new album, the seventh Blondie album of new material, was produced by Craig Leon, who actually worked on their first album with legendary producer Richard Gottehrer.

[...]

Hearing No Exit is truly surprising because it's a perfect evolution of Blondie as we knew it. It's as if the band continued to develop, to tighten even, despite the fact that they weren't together. The trademark elements are still there: that perfect, propulsive beat; Debbie's unmistakable voice, seductive, soulful yet ironic; atmospheric keyboards, sometimes lush, sometimes eerie; and brilliantly articulated guitar lines that never approach cliché. And, of course, the thing that stands out, especially today, is the band's ability to create perfectly crafted pop songs - catchy, instantly memorable, yet full of subtleties that continue to grow on you with repetition. It's just as good as it ever was, but sweeter.

"Maria" is a sexy pop anthem in the tradition of the great Blondie hits - dynamic but sweep, sensual but with a streak of wicket wit, unique but utterly contagious. "Night Wind Sent" is a haunting, delicate love song, that's all beauty. "Forgive And Forget" is a sort of tom tom driven creation myth - jungle drums meet electronic rhythms to create and exotic rhapsodic, moody dance music-hyponotism with hooks.

Blondie was never a novelty act, but even their hits showed a remarkable gift for transcending genres and fusing different moods and styles. Now, as bona fide adults and virtuoso players and writers, they've developed some even more startling hybrids. "No Exit" is a high powered monster mash, a Transylvanian rap dozens-duel between Debbie and Coolio that's the musical equivalent of Mystery Science Theater 3000. "Nothing Is Real But The Girl" is a wild vampire ska romp, sort of Bela Lugosi meets Skatalies, unprecedented but undeniably fun. Debbie who has spent the last few years fronting an innovative jazz band, The Jazz Passengers, shows off cool and kooky chanteuse moves in "Boom Boom In The Zoom Zoom Room."

It's a classic Blondie album, but even better in ways. The band takes itself less seriously so the songs are even wittier. And two of the good things about getting older are that if you play your cards right you can get smarter and more skilled. Blondie holds a winning hand with No Exit.