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Harder sound showcased in new The Raveonettes' 'Lust Lust Lust'
By Dave Arey
Posted: 2/18/08, 10:31 PM EST Section: Decibel
The Raveonettes
"Lust Lust Lust"
70 Decibels
Genre: Rock
Sounds Like: The Velvet Underground, Sonic Youth
The Raveonettes' new album showcases a major change in sound, but despite appearances, the songs are still written by the same person.
The band consists of the Danish duo Sune Rose Wagner and Sharin Foo, but Foo, a silver-haired songstress like Debbie Harry sans spunk, used to be the center of attention. As she serenaded her way through songs evoking 50s surf rock and the palpable sexual desire of today, it's easy to forget they weren't her songs at all.
Make no mistake - the music is solely Wagner's creation, and he asserts his direction with "Lust Lust Lust." The result is harder to appreciate than its predecessor, though it still has its charms.
The band's previous effort, 2005's "Pretty in Black," seemed like a move toward the mainstream. Gone was the distortion and depth the band became known for when Rolling Stone writer David Fricke discovered them in 2001. In its place was clarity and increased production costs. Even a cover of 60s girl group hit "My Boyfriend's Back" couldn't disguise the album's ties to the present.
Wagner must not have liked what he heard. Since then, the band has left its major label and signed with an independent and, as a result, "Lust Lust Lust" finds it reverting back to its old ways of distortion, depth and murky harmonies.
The album begins with "Aly, Walk With Me," and the differences between now and then are immediately evident. Foo's bass, which was relegated to a side role in "Pretty in Black," is front and center. Conversely, her voice drifts into the background, giving way instead to distortion-laden guitar. As the song goes on, the guitar becomes louder, building up to a crescendo that is, for lack of a better word, orgasmic. Put on a pair of headphones and enjoy.
Speaking of orgasms, as the title indicates "Lust Lust Lust" is entirely centered on sex, though the album is far from titillating. Wagner is more worried about the absence of love than anything else. "Dead Sound" finds Foo and Wagner asking, "When nightfall comes and you're still alone, do you feel it deep inside?" and one could easily see that as a thesis statement for the whole album.
If there is one problem with "Lust Lust Lust," it's that after a while, the songs tend to get repetitive. Most have similar tempos, muddied harmonies, distorted guitars and lovelorn lyrics.
However, the band certainly seems more comfortable in this aesthetic, and Wagner's gifts as a songwriter and singer are more evident than they have been in the past. I just wish it wasn't at the expense of Foo, who was clearly growing into a star.
dwarey@syr.edu
Sharin Foo is generally considered one of the hottest women in rock, but she's not the only one who can give Beyonce and Rihanna a run for their money.
Jenny Lewis of Rilo Kiley
Turn ons: 80s sitcoms, Loretta Lynn, prostitution metaphors
Karen O. of Yeah Yeah Yeahs
Turn ons: Screaming, beer, more screaming
Cat Power
Turn ons: Memphis soul, Bob Dylan, stage fright
Feist
Turn ons: Busby Berkeley, Canada, iPods
"Lust Lust Lust"
70 Decibels
Genre: Rock
Sounds Like: The Velvet Underground, Sonic Youth
The Raveonettes' new album showcases a major change in sound, but despite appearances, the songs are still written by the same person.
The band consists of the Danish duo Sune Rose Wagner and Sharin Foo, but Foo, a silver-haired songstress like Debbie Harry sans spunk, used to be the center of attention. As she serenaded her way through songs evoking 50s surf rock and the palpable sexual desire of today, it's easy to forget they weren't her songs at all.
Make no mistake - the music is solely Wagner's creation, and he asserts his direction with "Lust Lust Lust." The result is harder to appreciate than its predecessor, though it still has its charms.
The band's previous effort, 2005's "Pretty in Black," seemed like a move toward the mainstream. Gone was the distortion and depth the band became known for when Rolling Stone writer David Fricke discovered them in 2001. In its place was clarity and increased production costs. Even a cover of 60s girl group hit "My Boyfriend's Back" couldn't disguise the album's ties to the present.
Wagner must not have liked what he heard. Since then, the band has left its major label and signed with an independent and, as a result, "Lust Lust Lust" finds it reverting back to its old ways of distortion, depth and murky harmonies.
The album begins with "Aly, Walk With Me," and the differences between now and then are immediately evident. Foo's bass, which was relegated to a side role in "Pretty in Black," is front and center. Conversely, her voice drifts into the background, giving way instead to distortion-laden guitar. As the song goes on, the guitar becomes louder, building up to a crescendo that is, for lack of a better word, orgasmic. Put on a pair of headphones and enjoy.
Speaking of orgasms, as the title indicates "Lust Lust Lust" is entirely centered on sex, though the album is far from titillating. Wagner is more worried about the absence of love than anything else. "Dead Sound" finds Foo and Wagner asking, "When nightfall comes and you're still alone, do you feel it deep inside?" and one could easily see that as a thesis statement for the whole album.
If there is one problem with "Lust Lust Lust," it's that after a while, the songs tend to get repetitive. Most have similar tempos, muddied harmonies, distorted guitars and lovelorn lyrics.
However, the band certainly seems more comfortable in this aesthetic, and Wagner's gifts as a songwriter and singer are more evident than they have been in the past. I just wish it wasn't at the expense of Foo, who was clearly growing into a star.
dwarey@syr.edu
Sharin Foo is generally considered one of the hottest women in rock, but she's not the only one who can give Beyonce and Rihanna a run for their money.
Turn ons: 80s sitcoms, Loretta Lynn, prostitution metaphors
Turn ons: Screaming, beer, more screaming
Turn ons: Memphis soul, Bob Dylan, stage fright
Turn ons: Busby Berkeley, Canada, iPods
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