Single Review – The Raveonettes – Choke On Love

There’s yet another track from The Raveonettes Rave of the month series as they create an album’s worth of music over the course of the year. The Danish duos latest track is ‘Choke On Love’ and it features a lively, almost summer feeling track with resonant, fine riffs that are accentuated with distortion. The track fades into a wistful and hazy phase from which a quick fire lead riff meanders through. The song is a catchy and complex piece of Pop music, but it almost ends too soon and doesn’t endeavour to force the issue. 

Owen Riddle 

Single Review – The Raveonettes – This Is Where It Ends

The Copenhagen Noise Rock duo are approaching the conclusion of their Rave of the Month series which has given us a new song each month and will culminate into a full album come December. This concept has worked well on the whole, providing new material on a regular basis, but with each song released like a single not all of them have been single tracks of course. They clearly wanted the album to work as a flowing piece come the end of the year and they’ve considered that throughout. Their latest track ‘This Is Where It Ends’ is a gentle and typically unnerving in its lingering chords and tones with washed out percussion and electronica playing in a basic waltz signature; their vocals hauntingly sweeping across the track. It’s another subtle track, but one that keeps the the Raveonettes talented standards. You get the feeling the need one more powerful or evocative track before the year is out however. 

Owen Riddle

Single Review – MØ – Final Song

Even during a classic British summertime MǾ’s bouncing new single Final Song is sure to inspire you to whack those sunglasses on and smother yourself in sunscreen. Since collaborating with Diplo on last year’s dancefloor triumph Lean On, the Danish soloist has teamed up with yet another soaring musical force MNEK and Noonie Bao to produce an invigorating summer anthem that simply screams Coachella. The song is your typical let’s-put-the-car-roof-down-and-dance-in-the-sand kind of summer chart-topper, centred around a supreme climax built upon a whirring electronic bass, a bursting 4-note jovial riff and resonating harmonies. MǾ has expressed the song to be about “connecting with your inner strength” and being “empowered from within.” With such an enlivening, festival-ready number, it’s difficult not to radiate a summery glow whilst listening to it and beyond.

Eleanor Chivers

Single Review – The Raveonettes – Excuses

With the third instalment of their Rave of the Month album, for March we get ‘Excuses’. Operating in the middle ground between the electronic and lo-fi elements of the previous two singles, here with a divergent track moving from sound to sound in a obtuse, yet smooth fashion. The echoed riffs and percussion of a dark Surf Rock track descend towards their buzzing, lo-fi sound. This reaches a vocal peak however before leading into a rhythmic and almost classic hip hop beat of the chorus. The song smooths over the changes with an uneasy atmospheric quality which they achieve by having whirring electronica as a constant. Lyrically they continue to relate romantic pitfalls with war imagery in a fashion as brazen as their sound. A great track.

Owen Riddle

Single Review – MØ – Kamikaze

MØ has teamed up with Diplo again for her brand new single Kamikaze. However Kamikaze has moved on from the pounding bass, and has gone with a flowing bounce a real head mover. MØ has used strings and the famous horns heard in ‘Lean On’; but Kamikaze has taken on a more laid back approach with its fluttering upbeat melody accompanied by MØ’s distinctive silky vocal. Kamikaze is sparkling, addictive and will defiantly give MØ even more internet buzz, this feel good track will be another huge hit for MØ.

Heather Burlington @heaatherB

Musical World Tour – Denmark – Pinkunoizu – Necromancer

The Raveonettes – Pe’ahi Review

The Raveonettes have always been that fuzzy guitared, Lo-Fi constant that has been so for the around twelve years now. Each album is a minor alteration of that or a little exploration while carrying that classic and truer Indie sound to the point where they are almost the modern day guardians of it. Instead of coupling that sound with a transparent image or bravado, their songs are filled with emotional depths, peaks and vulnerabilities. Their ability to channel that out of their music has always set them apart from the meat-headed guitar thrashers. Their new album Pe’ahi is the follow up from 2012’s Observatory; their seventh studio album has a darker and more painful lyrical focus.
 
‘Endless Sleeper’ opens with that typical clicking percussion before falling onto a spaced out and rotating riff which is made more far off and soaring by the washed out vocals of the verses. On the chorus the guitar provides a fuzz laden drive behind the light, airy, yet purposeful vocals for a completely washed out and spread sound, that it is almost impossible to grasp without the timid hook you get from the vocals. It is still a very solid song which is bold in it’s rise and fall of sounds, but you do feel like the wondrous, spacious production of the verses had much more potential than what was delivered in the chorus in how so much more could have been done with the space they had produced. What they didn’t pull off with that track, they got right with ‘Sisters’. It immediately hits you with the whirring and vibrating guitars set against a more clear and direct structure of percussion. This is layered lightly with swooning and haunting background vocals and a murky harp-like sound which gives you something to grasp out from the song. The constant clash of the empty sounds of the harp sounds and swooning vocals are continuous, but are quite wonderfully delicate when left on their own to be swept up abruptly by the wall of distortion of the chorus. A song that manipulates the sound transitions with no mercy. Going all out to give you no time to blissfully settle with the sound and so keeps you savouring each segment before you know it will alter again. The best track off the album.
 
‘Killer In The Streets’ features a Marr-like riff with all it’s fluidity and distinction. This set above a more up to date and modern structure of percussion along with a low lying bass line. The vocals softly guide you across the song’s direct and unrelenting kick and intention. It’s track with a great hook and melody along with some un-raveonette like harmonies. The balance of bold and soft edged elements here is key to making the melodies and rhythms more pronounced and it works to a good end. ‘Summer Ends’ reverts back to the straight out distorted wall of sound, yet it is made a little more interesting through the light and optimistic sounding song progression and pop-like vocals, delivered with a cool, easy attitude. The second half of the song features more contours and changes of structures and rhythms to a slower and more considered version of the first half of the song which adds to the dramatics and deliberately leaves you a little cold after the pop tinged rhythms you experienced earlier in the track. ‘Wake Me Up’ are tracks driven by percussion arrangements and the whispy, airy vocals that are strung together by an offset piano and bass line. An eerie track that almost crawls along mysteriously. ‘Z-Boys’ is another traditional bit of Raveonettes fodder with the whispered vocals against the waves of distorted guitars that are strung together by a fluid lead riff. That is the Raveonettes sound and has been since 2002, but you feel with a few more efforts like ‘Sisters’ and ‘Summer Ends’, then the Copenhagen duo might have had a great album on their hands as opposed to a good album. But in that sense they have struck the balance between their die hard fans and their new fans.
 
The Raveonettes – Pe’ahi = 7.5/10
 
 
 
 
 
 
 
 
  

Sunday Suggestion – The Raveonettes – Wine

Copenhagen’s finest Indie rockers and their 2009 album In and Out of Control are again the source of my Sunday Suggestion with the final track off the album; ‘Wine’. It opens and a forlorn and lost fashion as the guitar drags itself and it’s echo along in a distant and lethargic fashion. Atop of this is the light haze and mist that is the combined and thinned out vocals of Sharin and Sune. as they make the song seem like its in slow motion. Reflective of the slowing down of time when you are in such an immersive love and the dragging of time when it has gone. The song starts to become a little more close and definite as the latter lyrical content of ‘throwing our love away’ becomes apparent before fading off again into nothing. Almost a tragic song that I’m sure people connect with in those happier and more painful times.

 

Sunday Suggestion – The Raveonettes – Suicide

The Raveonettes have always been a prime example of how combining different genres and sounds can work and they’ve done so since their debut in 2003. The Danish duo have combined sounds such as Shoegaze and Surf Rock to their base line garage sound. They’ve always operated in the sort of the respected background without great commercial success but it was a lack of such that doesn’t bother them so much. My personal favourite work by them is 2009’s In and Out of Control; a great piece of bubble gum and classic pop that is thinly spread under darker musical tones beneath it and of course the darker lyrical elements remained. A great contradiction. A song from their fourth album that best encapsulates these elements of their work is the song ‘Suicide’. It slowly opens with the steady strikes of the guitar and suddenly breaks into a rhythmic and melodic pop song with the sugar coated harmonies and the garage like guitars. Aside from the obvious darker undertones of the songs lyrics, there is also the darker musical feel and aura about the song. A certain tragic feel from the churning and slightly distorted rhythm and how this is broken down and spaced out in the verses. Along with this is the sort of sarcasm of the happy vocal style tinged with the tragedy of the subject matter. A great song with the dual quality of being a song you can get involved in, yet a song that you can stop and think about.
Image from www.indyish.com

Pinkunoizu – The Drop Review

Pinkunoizu are a Danish group consisting of Jaleh Negari, Jeppe Brix, Andreas Pallisgaard and Jakob Falgren and though they are under the general banner of a Psychedelic rock group, they are much more than that. Their music is a wonderful mutation of Krautrock, Pop, Psychedelica and so much more. The Drop is the follow up from last years album Free Time! and includes to songs from that weird EP album thing they did earlier this year which are ‘Moped’ and ‘Tin Can Alley’. Now the idea that the band has of combining past sounds to make news ones should see me liking them quite a bit as I’ve always gone on about how no one is really progressing music or refreshing old stuff either. Let’s see!

‘Moped’. The whirring synths and with echo, reverb on everything is pretty much the only way to describe the opening to it. The vocals are echoed to but can be heard over the music but that’s not important here. Despite the higher pitched vocals providing a good balance to the heavy sound it’s the wondrous collage of sounds that make this song. The lead guitar burst through to add melody to it all while the space taken up from the drums just grows. The bass rises and falls well too for a greater depth so there is certainly room for manoeuvre on this song despite the many different elements bouncing around and the song works wonderfully as a result. ‘Tin Can Alley’ starts with a heavily reverbed and stuttered drone of a guitar that’s more akin to a siren. The low bass line kicks in on top of that and the Krautrock like guitar leads the song into a rhythmic and catchy destination. The percussion is rapid and urgent while the vocals again add a sense of balance in being lower in tone and drawn out and echoed. However the song never loses it’s urgency and speed and is again a great song that’s different in style of ‘Moped’ but utilises the same recording techniques to good effect.

Songs such as ‘Down In The Liverpool Stream’ are more evocative of an English folk song with subtle synth wavering in the background and with the pure voice too with no effects and others like Necromancer just indulge in vintage electronic music wonderfully and is countered by moments of more spaced out instrumentals that flow through the electronic sounds well. All in all this album is highly varied and you should never get bored listening to it. That’s what makes a great album like Sgt Pepper for example. Not only that but the composition and production is also reflective of that variedness that exists across the album. It’s a real treat. You should take some time out of your day to listen to it.

Pinkunoizu – The Drop = 9/10

Images from crackthewalnut.wordpress.com/ foamhands.wordpress.com