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 – The Raveonettes – A Good Fight

The established Copenhagen Noise Rockers continue to release material every month as part of their Rave of the Month series for 2016. Their latest track for August is ‘A Good Fight’ and it shows familiar flashes of rapid, distorted rhythms and echoed vocals. These sections fall away towards a chiming piano ballad with washed out, hazy vocals and a more open and spacious feel. Beyond this, the track is filled with dark and unnerving lyrical content which matches the duos general feel for this series of tracks, of which ‘A Good Fight’ is one of the strongest. 

Owen Riddle

This Weeks Music Video with Tegan and Sara, Massive Attack, Unknown Mortal Orchestra, The Raveonettes and Belle & Sebastian 

Single Review – The Raveonettes – Junko Ozawa

With the fourth instalment in their Rave of the Month series, long-standing Copenhagen duo The Raveonettes have released their new single ‘Junko Ozawa’. With a track that is in homage to video game music composer Ozawa, the sound is evocative of the blocky and popping sounds of the composer. Around this are the ringing, washed out guitars of their Noise Rock sound that are set around a rapid, driving drum machine. It is a track that has greater electronic influence than their previous singles with the rhythm sections inducing synth surges by the second half of the song. It is another catchy, yet atmospheric addition to their growing collection this year.

Owen Riddle

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 – The Raveonettes – Run Mascara Run

 

The second instalment of The Raveonettes Rave of the Month series this month, sees the Copenhagen duo swap resonant electronica for more a twisted and distorted, swooning ballad. Behind the clear and innocent vocals and classic Rock-Pop riffs are dark lyrics of blood stained imagery and the horrors of a nuclear holocaust. The ever increasing distortion as the track progresses really adds to the audible imagery of the static left over by a nuclear detonation. Though a simple arrangement, the music is pulled and manipulated wonderfully to master that contradictory sound of darkness behind innocence. Something that these two are experts in.

 

Owen Riddle @oriddleo1995

Single Review – The Raveonettes – This World is Empty (Without You)

Copenhagen’s finest duo of Lo-fi surf rock shoegazers; The Raveonettes are back with an intriguing prospect for what is in effect their eighth studio album in The Rave Sound of the Month Series. Their plan is to release an albums worth of material gradually at one new track each month with ‘This World is Empty (Without You)’ being their first. It is a track that sees the duo shift their emphasis away from the heavily distorted and washed out guitars they utilised in recent years and instead opt for a more resonant and vibrant electronic style. Their icy harmonies work just as well in this environment as they have ever done. The track is neatly packaged at under three minutes and still conveys the duos ability to convey loss and darkness through seamless pop harmonies. Drip feeding the album in such a way is also a smart move as it gives fans the assurance of a new track each month; almost a Raveonettes musical calendar. Be sure to mark down the month of February for this track for these quiet legends of 21st century music.

 

Owen Riddle @oriddleo1995

This Week’s Music Video with Interpol, The Raveonettes, Ryan Adams. SBTRKT, M83 and Antlers

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