首张专辑发行后不久贝斯手MAKI takahashi离开乐队，之后blonde redhead以三人之力乘胜追击，在同年9月推出了他们的第二张专辑《la mia vita violenta》。与第一张转机相比，blonde redhead 《la mia vita violenta》没有大老板的助阵，而且在风格上看似并未有新的突破，所以每每在回顾时，总或多或少地被遮挡在第一张专辑耀眼的光芒下，显得不那么灿烂。而实际上，经过首张专辑里steven shelley 的引导，在这张自己制作的专辑里，blonde redhead不但成功地沿袭了上一张的噪音情绪，而且拥有了更大的施展空间，在sonic youth般的狂躁旋律与自身的思想之间找到了恰好的结合点。第一次真真正正的唱出了自己的声音。在这两张专辑都很受歌迷的喜爱，但遗憾的是，并没有获得评论人士多少的青睐。 by Ken Taylor With their second release, La Mia Vita Violenta, Blonde Redhead maintain their organically low-fi aesthetic and continue to prove themselves as one of indie rock's real triumphs. Even after the departure of guitarist Maki Takahashi, they still make more noise with three people than most bands could make with ten. Guitars tear into the songs -- pointed, direct, and tough -- while the vocals of Kazu Makino and Amedeo Pace weave tightly into drummer Simone Pace's impeccably precise backing. Timing is everything, and Blonde Redhead certainly have it. They're dirty when they need to be and crystal-clear when the situation calls for it. Never angry, the trio plays hard and fast to the point where the instruments seem to play themselves with the deftest of precision. The production is so skillful that even with the most Spartan of recording gear, guitars end up sounding synthetic, in that painting-looks-like-a-photograph kind of way. And the volatile changes -- from sweet acoustic strums to drilling power chords -- make this album a whirl of unexpected surprises. La Mia Vita Violenta is math rock without the nerdiness and art rock without the pretentiousness.