Quick Hit: Raveonettes


Good western music can come from interesting eastern countries. Denmark’s Raveonettes are the embodiment of fast noise-rock, and do it better than most western bands with ease. The band plays the duo-vocal vibe of bands like The Kills and Blood Red Shoes, with Sune Wagner (left) playing guitar and Sharin Foo (right) on bass, only really adding a drummer for live purposes. The band manages a noise sound that is both energizing and driving, nearing the point of too much noise but never becoming overwhelming.

The band’s debut EP Whip It On is possibly their grittiest album and has the cool theme of being entirely in B flat minor, a theme they continued on their follow up Chain Gang Of Love, only going into a major key. The album opens with my favourite song of theirs, “Attack Of The Ghost Riders” a catchy yet gritty song that keeps the gain maxed out and the feedback high. The song has this amazing chorus of “It goes something like this:” and then exploding into a wall of guitar noise, that has a somewhat theatrical quality to its direction. The song was also covered by fellow Danes, Asteroid’s Galaxy Tour, whose horn version of the chorus and wailing back-vocals put it on par with the original. “Veronica Fever” manages to slow things down for a less catchy but more moody song that shows off their other leading quality, sound experimentation.

“Do You Believe Her” opens on a strange soundclip before dropping into the heavy guitar shredding and driving sound of the song, somehow they make the soundclip work and even make it one of the catchiest parts of the song, even ending strangely on a desk bell. “Chains” keeps the drive going but turns up the bass and lets the guitar play a more texturing role.

“Cops On Our Tail” gets back up to speed and runs at top speed til the very end, fading away on a mantra of “Fuck you.” “My Tornado” takes the bands dirty and gain-filled sound and throws in an echo-y hip-hop beat to make one of the strangest tracks on the record.

“Bowels Of The Beast” keeps things slow on a chugging song with a southern hint in it, that has a bit of a “When The Levee Breaks” sound to it, sounding like the perfect theme song for destruction. The album closes on the appropriately fast “Beat City” cranking in a bit of reverb for some open feeling parts to make the crashes of distortion all the more addictive, and ending on a wash of feedback.


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