The Raveonettes are too superficial
They prove they’re less superior than their Scandinavian peers.
Published Feb. 26, 2008
Every time The Raveonettes release an album, it feels like they are trying to disconcert the public. Their first EP, Whip It On, was only played in the key of B-flat minor and used only three chords, and all the songs on The Chain Gang of Love were played in the B-flat major key.
Praised by most of the critics for their retro and so-called audacious music style, The Raveonettes are supposed to be a “band to watch.”
After their extremely poppy concept album, dedicated to the glorious 50s and 60s, Pretty in Black, Denmark’s most glorious duo returns with a new album: Lust Lust Lust. In the case of this album, lust should be understood as a passionate desire for an exceptionally noisy, repetitive and irritating pop music.
The Raveonettes’ music, like the band, comes off very superficial. The duo, formed by the very blonde Sharin Foo, living clone of the fantastic and even blonder lead singer of the cult new wave band Blondie, Deborah Harry, and by the frighteningly pale Sune Rose Wagner, give the impression that they stake their success on vain concepts and an exceedingly polished image.
Their Web site confirms moreover this idea of pretentiousness and conceitedness: “the gang” indeed describes itself as “stylish, confident and, frankly, slightly menacing.” Unfortunately for them, relying on your image to sell albums is not enough anymore.
The Raveonettes’ music is best heard really loud. A mixture of pop and post-punk, this album, the group said, is supposed to empower the audience. Yet most of the songs do the opposite. Thus, the opening “Aly, Walk With Me,” which should have been entitled “Audience, Walk Away,” is simply the most infuriating song of the year. The lyrics, lacking substance, could not be more hollow; the instrumentation is absolutely abominable and there is not even a word to describe the arrangement. Filled with exceedingly strong feedback, this over-amplified song is an attack on the senses.
However, the other songs are not as bad. The album actually conceals some quite decent tunes. “Blush” has a tenacious melody perfect to charm the English charts fond of this kind of surf-pop song. The over-amplification remains annoying though, and the lyrics equal the quality of summer hits.
What is even more depressing about this band is their melodies. The Raveonettes compose sterling melodies, but seem to want to waste them with poor arrangements. Most of the songs’ refrains are actually of fairly good quality.
Thus, The Raveonettes do not really stand out of contemporary musical production, but they certainly could if they decided to re-examine some of their gimmicks. The Raveonettes, part of this new wave of Scandinavian music, should put more depth in their music such as the tremendously moving jazz-folk singer Norwegian Thomas Dybdahl, or the marvelous Swedish rock band Shout Out Louds.