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Alternative & Indie - Released November 6, 2020 | Beat Dies Records

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Alternative & Indie - Released April 21, 2017 | The Raveonettes, Ltd.

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Pop/Rock - Released May 3, 2005 | Columbia

The Raveonettes take their love of the Jesus and Mary Chain to new heights on their sophomore release, Pretty in Black. The Mary Chain's debut, Psychocandy, was a thrilling collision of extreme noise and sticky-sweet melodies; the Raveonettes' debut, Chain Gang of Love, followed a similar formula and came up with similarly thrilling results. The Jesus and Mary Chain's second album, Darklands, stripped away almost all the noise and gave the group's sound a by-the-numbers feel that was only saved by some great songs and the Reid brothers' personas. The Raveonettes plot the same course on Pretty in Black. None of the songs have the '50s rockabilly in a wind tunnel feel, nor do they sound remotely dangerous, exciting, or even fun. The album is subdued and overly polished, with a preponderance of thin drum sounds, stock guitar sounds, and uninspired singing from both Sune Rose Wagner and Sharin Foo. That's not to say that they should have released Chain Gang, Pt. 2, but it would have been nice to have retained some of that record's sonic wildness and overall sense of fun and adventure. Plus, none of the songs here come within a mile of the thrilling moments from Chain Gang of Love like "That Great Love Sound," "Heartbreak Stroll," or "The Love Gang." The few songs that stir up some noise, like "Sleepwalking" or "Twilight," do so in a way that is very predictable, and the ballads are lightweight to the point of being completely forgettable. Only a couple of songs make a positive impression (the lilting "Here Comes Mary" and laid-back summer tune "Red Tan"), and even then they would have been the weakest songs on Chain Gang of Love. The biggest nail in the coffin is their flat cover of the Angels' "My Boyfriend's Back" (which was co-written by producer Richard Gottehrer back in the mid-'60s), but there are problems everywhere you look. They rope in Mo Tucker to play drums, Martin Rev to provide drum machines, and Ronnie Spector to warble some background vocals, and their contributions are pretty negligible -- it seems like they were brought on just to give the record some hipster cred. Spector's presence on the Phil Spector-esque "Ode to L.A." just points up the song's shortcomings, and making her sing the "whoah oh ohs" from "Be My Baby" is so obvious that it is almost embarrassing. (Besides, Eddie Money beat them to the punch by about 20 years.) Overall, the choices that Wagner and Gottherer make regarding the sound of the album strip away the very things that made the band worthwhile and, unlike on Darklands, the songs that remain are not strong enough to carry the weight. A major disappointment to say the least, Pretty in Black is such an indifferent and predictable record that it makes one reconsider the quality of the album that preceded it. Now that is the mark of a bad album. © Tim Sendra /TiVo
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Pop/Rock - Released December 2, 2003 | Columbia

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Alternative & Indie - Released April 4, 2011 | Beat Dies Records

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Alternative & Indie - Released March 18, 2008 | Beat Dies Records

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Alternative & Indie - Released July 22, 2014 | Beat Dies Records

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Pop/Rock - Released August 23, 2003 | Columbia

The Raveonettes barely gave listeners a glimpse of their cinematic brilliance with their Whip It On EP. One listen to their first studio full-length, The Chain Gang of Love, and you'll know it immediately. The crash and charm of this 13-song set exceeds any kind of glorious expectations laid out at the beginning, and the Raveonettes probably want it that way. Sune Rose Wagner and Sharin Foo go for a much bigger sound this time around. The Chain Gang of Love is far more glossy and layered in melodies compared to Whip It On's gray-colored coolness. Having legendary producer Richard Gottehrer (Blondie, Marshall Crenshaw, the Go-Go's) at the helm doesn't hurt either, for he captures the Raveonettes' true pop essence with style. Forget those rules of keeping it to three chords recorded in B-flat minor. The Raveonettes indulge themselves in the finer elements of mid-'80s post-punk/noise pop (think Jesus & Mary Chain) and combine it with sheer pop melodies of the '50 and '60s for a sexy rock & roll picture show. From the fantastic pop jaunt of "The Great Love Sound" to the pulsating rockabilly blend of "Let's Rave On" and "Heartbreak Stroll," The Chain Gang of Love finds the Danish duo embracing influences of the past, but the Raveonettes tweak things ever so slightly to make them their own. The Chain Gang of Love isn't suffocated in garage rock fashion alone, either. Foo and Wagner's low vocals may hint at such a display, but overall their smooth pop presentation won't be pigeonholed. The Raveonettes, more or less, honor great pop moments of yesteryear, in hopes of positioning themselves and the rock scene in general for something grand later on. © MacKenzie Wilson /TiVo
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Alternative & Indie - Released April 4, 2011 | Beat Dies Records

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Alternative & Indie - Released February 19, 2008 | Beat Dies Records

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Alternative & Indie - Released September 10, 2012 | Beat Dies Records

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Alternative & Indie - Released October 5, 2009 | Beat Dies Records

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Pop/Rock - Released August 6, 2002 | Columbia

Danish duo the Raveonettes strike a slick pose on their debut EP, Whip It On. It's a slinky post-punk mix recorded entirely in B-flat minor while each song thrives on only three chords. Minimalist and stylish, Whip It On doesn't go for the grandiosity of the Strokes and the White Stripes. The Raveonettes are ambitious in their own way, and it works brilliantly. Debut single "Attack of the Ghost Riders" glides with an extraterrestrial flair, Sharin Foo and Sune Rose Wagner's wispy vocals surfing along momentous percussion. The high-speed garage-y "Do You Believe Her" shimmies with a darker posture, but that's exactly what the Raveonettes are going for. Whip It On is basically a soundtrack album, a film noir storybook of eight solid tracks blazing with attitude. "Cops on Our Tail" is nonchalant in a vexed moment, but never cavalier. Whip It On is a decent look at what the Raveonettes are capable of, certainly an honest effort, but more impressive in the sense that they're rock & roll antagonists. © MacKenzie Wilson /TiVo
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Alternative & Indie - Released December 2, 2013 | Beat Dies Records

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Pop/Rock - Released May 3, 2005 | Columbia

The Raveonettes take their love of the Jesus and Mary Chain to new heights on their sophomore release, Pretty in Black. The Mary Chain's debut, Psychocandy, was a thrilling collision of extreme noise and sticky-sweet melodies; the Raveonettes' debut, Chain Gang of Love, followed a similar formula and came up with similarly thrilling results. The Jesus and Mary Chain's second album, Darklands, stripped away almost all the noise and gave the group's sound a by-the-numbers feel that was only saved by some great songs and the Reid brothers' personas. The Raveonettes plot the same course on Pretty in Black. None of the songs have the '50s rockabilly in a wind tunnel feel, nor do they sound remotely dangerous, exciting, or even fun. The album is subdued and overly polished, with a preponderance of thin drum sounds, stock guitar sounds, and uninspired singing from both Sune Rose Wagner and Sharin Foo. That's not to say that they should have released Chain Gang, Pt. 2, but it would have been nice to have retained some of that record's sonic wildness and overall sense of fun and adventure. Plus, none of the songs here come within a mile of the thrilling moments from Chain Gang of Love like "That Great Love Sound," "Heartbreak Stroll," or "The Love Gang." The few songs that stir up some noise, like "Sleepwalking" or "Twilight," do so in a way that is very predictable, and the ballads are lightweight to the point of being completely forgettable. Only a couple of songs make a positive impression (the lilting "Here Comes Mary" and laid-back summer tune "Red Tan"), and even then they would have been the weakest songs on Chain Gang of Love. The biggest nail in the coffin is their flat cover of the Angels' "My Boyfriend's Back" (which was co-written by producer Richard Gottehrer back in the mid-'60s), but there are problems everywhere you look. They rope in Mo Tucker to play drums, Martin Rev to provide drum machines, and Ronnie Spector to warble some background vocals, and their contributions are pretty negligible -- it seems like they were brought on just to give the record some hipster cred. Spector's presence on the Phil Spector-esque "Ode to L.A." just points up the song's shortcomings, and making her sing the "whoah oh ohs" from "Be My Baby" is so obvious that it is almost embarrassing. (Besides, Eddie Money beat them to the punch by about 20 years.) Overall, the choices that Wagner and Gottherer make regarding the sound of the album strip away the very things that made the band worthwhile and, unlike on Darklands, the songs that remain are not strong enough to carry the weight. A major disappointment to say the least, Pretty in Black is such an indifferent and predictable record that it makes one reconsider the quality of the album that preceded it. Now that is the mark of a bad album. © Tim Sendra /TiVo
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Rock - Released March 28, 2014 | Columbia - Legacy

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Alternative & Indie - Released July 23, 2015 | Cleopatra Records

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Pop/Rock - Released August 23, 2003 | Columbia

The Raveonettes barely gave listeners a glimpse of their cinematic brilliance with their Whip It On EP. One listen to their first studio full-length, The Chain Gang of Love, and you'll know it immediately. The crash and charm of this 13-song set exceeds any kind of glorious expectations laid out at the beginning, and the Raveonettes probably want it that way. Sune Rose Wagner and Sharin Foo go for a much bigger sound this time around. The Chain Gang of Love is far more glossy and layered in melodies compared to Whip It On's gray-colored coolness. Having legendary producer Richard Gottehrer (Blondie, Marshall Crenshaw, the Go-Go's) at the helm doesn't hurt either, for he captures the Raveonettes' true pop essence with style. Forget those rules of keeping it to three chords recorded in B-flat minor. The Raveonettes indulge themselves in the finer elements of mid-'80s post-punk/noise pop (think Jesus & Mary Chain) and combine it with sheer pop melodies of the '50 and '60s for a sexy rock & roll picture show. From the fantastic pop jaunt of "The Great Love Sound" to the pulsating rockabilly blend of "Let's Rave On" and "Heartbreak Stroll," The Chain Gang of Love finds the Danish duo embracing influences of the past, but the Raveonettes tweak things ever so slightly to make them their own. The Chain Gang of Love isn't suffocated in garage rock fashion alone, either. Foo and Wagner's low vocals may hint at such a display, but overall their smooth pop presentation won't be pigeonholed. The Raveonettes, more or less, honor great pop moments of yesteryear, in hopes of positioning themselves and the rock scene in general for something grand later on. © MacKenzie Wilson /TiVo
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Alternative & Indie - Released October 5, 2009 | Beat Dies Records

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Alternative & Indie - Released December 5, 2011 | Beat Dies Records