Customer Reviews

In & Out of Control

5 star:		(7)
4 star:		(7)
3 star:		(1)
2 star:		(1)
1 star:		(2)

 

 

The Raveonettes, consisting of Danish duo Sune Rose Wagner and Sharin Foo, blazed onto the scene with their boisterous, shredding 2002 debut "Whip It On", shortly thereafter followed by the equally mesmorizing 2003 album "The Chain Gang of Love". Things after that took a decidedly turn for the worse with the baffling 2005 "Pretty in Black" album. The band took a long time to regroup after that disaster, and returned in 2008 with the ok-but-not-great "Lust Lust Lust" album. Now comes the band's 5th album.

"In and Out of Control" (11 tracks; 37 min.) in essence continues the path from "Lust Lust Lust", providing us with more of a mix between beautiful pop hooks and electric noise thrown in just to keep things interesting. Check out "Gone Forever" which starts off with a minute of so of dead noise only to then dive in with a great pop song, as if the first minute didn't happen. "Last Dance" (1st single) is a great song. The second half of the album is actually the more interesting one for me, with such nuggets as "Bearking Into Cars" and best of all, the hard-charging "Break Up Girls!", reminding me of their earliest and most exciting output. At 37 min, this all makes for a quick listen. Overall, in the Raveonettes universe, this feels like a 'safe' album. (Of course, compared to the mainstream music out there, this remains cutting-edge.)

The album I bought came with a bonus EP consisting of 2 tracks (6 min.), containing the upbeat "The Chosen One", which would have been a nice addition to the album proper, and "Planes Do Crash", an unremarkable tune. I've seen the Ravonettes in concert a number of times over the years, and they always shine live, better than their studio output. They'll be coming to Cincinnati in a few weeks in support of the new album, and you bet I will be there. Finally, if you wonder where you can hear this band, check out WOXY (BAM! The Future of Rock and Roll), the internet-only station that brings the best indie-music in the country, bar none.

The Raveonettes kicked it up a notch with their third album LUST LUST LUST. And they're back again with the similarly dark-but-infectious IN AND OUT OF CONTROL At the risk of repeating myself, I'll repeat what I said in an earlier review: "Put a cupful of 1950s rock'n'roll, two tablespoons of 1960s girl group vibes and a sprinkle of new millennium noise pop into a sonic blender and you have the Raveonettes." The echoes of the Shangri-Las are particularly strong in album opener "Bang!" and the catchy "Last Dance." The singalong opportunity diminishes with "Boys Who Rape (Should All Be Destroyed)." You might agree with the sentiment, but you can't avoid the lyrical awkwardness. Those three minutes aside, the album gets back on track with "Heart of Stone" and the tender "Oh, I Buried You Today." "Breaking Into Cars" is a standout track. "Break Up Girls!" seems to imagine a lost, distorted B-side to "Leader of the Pack." The album closes with the atmospheric and maudlin "Wine," lamenting "Lone/roads/sprinkled/with tears" and a summer that "threw our love away."

Not content to recreate the sonic landscape of their (in my opinion) breakout album, Lust Lust Lust, the Raves have pushed a little harder this time, focusing on the songwriting aspect of putting together an album and putting less time into the noise. Where Lust played like one extended mood, where songs were discernible only in that there was a pause between tracks and maybe a subtle shift in style, In and Out of Control plays much more so as a collection of songs. And songs these are, showing the band's love of '50s girl groups and Phil Spector while still maintaining that signature Raveonettes via the Jesus and Mary Chain sound. Unfortunately, the added focus on songwriting is a mixed bag, as not every song idea turns out to be a real keeper, and I do sorely miss the artistic haze of Lust's swirling mass of distortion. Regardless, there are some killer tracks here, with my particular favorites being "Last Dance" and "Suicide," which not-so-coincidentally sound the most like their last album. They're fabulous slow-tempo rockers, and they have a healthy mix of song structure and gauzy musical goodness. Definitely a record aimed at bringing in some new fans, and certainly more accessible than Lust Lust Lust.

With track titles like "Gone Forever," "Suicide" and "Oh, I Buried You Today," fans of the Raveonettes could be forgiven for thinking the Danish duo of Sune Rose Wagner and Sharin Foo had a bad year after the release of 2008's Lust Lust Lust. It only takes about forty-five seconds into opener "Bang" for those concerns to vanish, however, about when Foo's pixie-ish vocals declare "kids wanna bop, out in the street / fa-fa-fun all summer long" as the power chords reach sugar overload. Of course, the palpable sense of excitement and happiness is obvious from the beginning, as "Bang" is perhaps the Raveonettes most refined, direct stab at blissfully optimistic pop ever. It's absurdly catchy and the feelings of joy it sends out are practically impossible to ignore, vibes that set the tone for the record to follow.

Lust Lust Lust was an interesting record, one that showcased the Raveonettes' undeniable ear for a pop hook but tended to suffocate them in waves of the fuzz and distortion the band is known for. In and Out of Control, on the other hand, allows the couple's golden ears to shine through - from "Bang" to closer "Wine," it's an unvarnished look at what the Raveonettes do best. They've always taken inspiration from the great power pop groups of the past, from the Go-Go's to Blondie to Buddy Holly, as their cover of "My Boyfriend's Back" proudly acknowledged, but with a heavy dose of modern distortion medicine reminiscent of the Jesus and Mary Chain or the Velvet Underground, and In and Out of Control strikes that balance perfectly.

They wear their influences on the sleeve, certainly, but at the same time never allow their own voices to become overwhelmed. "Last Dance" mimics a `50s pop-rock torch song you might have heard at your prom, if you were a baby boomer and the house band had somehow gotten their hands on a dozen different distortion pedals. "Heart of Stone" is coated in so much reverb and bouncy echoes that it sounds as if it was recorded through a time warp, but the band wisely allows the song's signature riff to shine through and the gorgeous melody to remain on top of all the mess. And "Boys Who Rape (Should All Be Destroyed)" will probably be the most straightforward public service announcement you'll hear all year, not to mention one of the best songs. Cleverly masking some of the most scathing lyrics on the record (side note: In and Out of Control is easily one of the most unlikely records to deserve a Parental Advisory sticker; check out some of these lyrics!) with a charmingly spritely performance by Foo and the kind of infectious chorus that makes the title seem like a love anthem. Wagner's flawless solo near the end sounds like it was recorded in 1968 and puts just the right touch on a song that defines split personality.

The momentum is sadly stunted, however, with the out-of-place ambient ballad "Oh, I Buried You Today," which meanders around Foo's ethereal vocals but never really goes anywhere. Marking the middle of the record, it only emphasizes the album's top-heaviness, In and Out of Control's most glaring issue. First single "Suicide" is a highlight, a four-on-the-floor chorus and sparkling guitar work understating perhaps the album's thesis: "get your foot in this trashy world / empty-hearted bus by your side / lick your lips and f**k suicide." From there to the soothing comedown of "Wine," it's a series of songs that are either melodically uninteresting ("D.R.U.G.S.," "Breaking Into Cars") or out-of-place filler seemingly included only for the sake of reminding us that, yes, the Raveonettes are still noise rock ("Break Up Girls!").

Then again, perhaps the second half of the record disappoints because the quality of the first is so high. The Raveonettes have never been wildly popular even among the indie scene, and it's possible it was due to their earlier inability to decide whether they wanted to be a noise band or a pop duo. But with In and Out of Control, they prove they can have it both ways, making decidedly modern music with a songwriting heart aligned firmly with their retro predecessors. And with three-minute gems like "Bang" and "Suicide," the Raveonettes have their best shot in years at breaking through.

I have to admit I am one of the few people who actually enjoyed Pretty in Black. It wasn't as good as the band's other albums but it was pleasant. I wasn't so thrilled with their previous album Lust, Lust, Lust. The music just bored me. After such mediocre music, I wasn't sure whether I wanted the new Raveonettes' album In and Out of Control but after hearing their song "Last Dance" on my local modern rock station, I decided to get it. I am glad I did. In and Out of Control quickly reminded me what made me fall in love with The Raveonettes' music. Most of the songs got stuck in my head like "Bang!" and "Last Dance" with their charming '60s retro pop melodies. Lyrically? I think the band could have done better. I absolutely hate "Boys Who Rape (Should All Be Destroyed)". I thought the lyrics were pretty terrible. I also did not care for "D.R.U.G.S". I also thought some of the melodies on the album felt flat like on the two aforementioned tracks but overall In and Out of Control is a million times better than the duo's previous two albums. They certainly have redeemed themselves with me.

I wouldn't say there are any killer singles a la "Love In A Trashcan" or even standout tunes like "Dead Sound" or "Hallucinations" off the last album but I like the direction the band is taking. They still have that solid fuzzy guitar sound with the pounding drums but there are more nuanced (if that's the right word) songs here.

Then again someone is angry as there are also songs called "Boys Who Rape (Should All Be Destroyed)," "Suicide" and "D.R.U.G.S." on this. In fact "Boys" message is presented in a pop ballad so it has far more impact than some grungy angry post-feminist rant. But I do worry about the lyrics as I sure hope Sharin did not have to draw from experience to come up with this.

The download version has an extra track ("Echoes") as well as a 16-min. video of their Chelsea sessions. Plus the thing is less than half the retail price and you still get the digital download of the booklet and cover artwork.

Also, having just seen them live two nights ago the band are still on form live. They've even added a wicked Jesus & Mary Chain-like light show where the lights strobe out on some songs at the audience

I've heard other Raveonettes albums and eps and I like this one best!Great classic pop hooks and that noisy jesus and mary chain guitar that recalls some of the Ramones bubblegum output.

My favorite - peppy rhythms alongside dark lyrics. Every song is a great slice of pop rock, but with deep, gothic, subjects, like suicide, rape, and drug overdoses - a particular favorite dichotomy of mine. The music catches my kids and the lyrics reel me in, a great combo.

Having heard all of their records and seen them live before, I would fall under the "Raveonettes fan" category. That said, this is EASILY the catchiest/poppiest batch of songs they've produced (the best? who knows). I have to say that there's about four or five of these songs that really, really get stuck in my head. I can't think of any record that's come out this year that I've played so much (not that this alone makes it record of the year or anything. Like I said in my review of "Lust Lust Lust", these guys don't do anything new. They just mix classic sounds very tastefully. And they are incredible live!).

My favorite songs:

Bang - has a serious Ramones / playing in the street (in Brownsville in the 60s?) with the fire hydrant running vibe
Last Dance - best freakin' Raveonettes chorus ever, great lyrics, great melodies
Heart of Stone - really great, simple guitar riff
Suicide - again, such a great chorus. I can't get their choruses out my head these days.
Breaking Into Cars - like a mix of the movie "Warriors" and Roxette on bathtub methh? so good.

The two songs where they seem to mix up their style a bit (Boys Who Rape & Drugs) are actually the weakest songs to me. Maybe they haven't grown on me enough.

Bottom line: if you're a repeat customer, you will be beyond stoked. New fans, if you dig the comparisons, this is a great place to start.

(All those godawful pop-punk bands that covered Ramones LPs in their entirety back in the 90s should listen to this LP and quit making music if they haven't already.)

Some reviewers have called some of the lyrics "immature" , but with the overwhelming '50 era music influence I think the lyrics are perfect and really cool. The music is so addictive! The harmonies are great and while I am fairly new to the Raveonettes fold, I like that there is a little less noise, if only for the fact that I can put this in the car stereo w/o my gf complaining (she would never make it through the guitar freak out in "Aly, walk with me" from "Lust"). I simply love this band and their sound and I hear simalarities to The Jesus and Mary Chain and The Ramones. If you like those bands I would give this record a chance. Also, I would encourage all fans to go donwload the demo version of three of the tracks for free from the Raveonettes website.