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The Raveonettes-Peahi-(RAV00004-2)-CD-FLAC-2014-k4
Description :
a r t i s t :: The Raveonettes
t i t l e :: Pe’ahi
d a t e :: 2014-00-00
l a b e l :: Beat Dies Records
g e n r e :: Indie
s o u r c e :: CD
b i t r a t e :: 1021kbps avg
e n c o d e r :: FLAC 1.2.1 -8 -V
t r a c k s :: 10
p l a y t i m e :: 36:12
s i z e :: 266.4MB
tracklist
1 Endless Sleeper 2:54
2 Sisters 3:45
3 Killer In The Streets 3:59
4 Wake Me Up 2:40
5 Z-Boys 4:42
6 A Hell Below 3:26
7 The Rains Of May 3:47
8 Kill! 3:31
9 When Night Is Almost Done 3:22
10 Summer Ends 4:06
releasenotes
A decade on, it’s safe to conclude that the quality of the Raveonettes’ albums
depends on a unifying concept. The pair of records that kicked off their
career, the Whip It On! EP and Chain Gang of Love, were lurid, cinematic, and
written entirely in single keys; career highlight Lust Lust Lust was a raw,
roaring response to the band’s play for wider recognition, a failed gambit
built around their second album Pretty in Black. These albums weren’t major
stylistic departures or markedly more ambitious than the rest of their work,
but they succeeded because they pitted the Raveonettes’ basic
proposition—simple pop songs and sweet melodies, coated in layers of malicious
fuzz and laden with comically dark lyrics—against clearly defined rules and
boundaries. Conditioned with even the most trite gimmick, Sune Rose Wagner’s
compositions have a better chance of acquiring staying power; left to stand on
their own, they mostly achieve a pleasure that’s pleasant but fleeting. With
their seventh full-length, Pe’ahi, the band attempts to steer clear of the
latter problem by shifting their sound markedly.
Pe’ahi doesn’t sound much like any of the Raveonettes’ other records, and
that’s largely because they’ve added greatly to the instrumentation and
effects. Where once Wagner and partner Sharin Foo were content to let their
vocals and simple guitar chord patterns bear their songs’ melodic weight, they
now employ harps, choirs, xylophones, and electronics; basic drum machine
pulses are eschewed in favor of more complex, swinging breakbeats. These songs
are different on a structural level, too, as Wagner leaves traditional
verse-chorus-verse behind several times throughout the album, opting instead
for multi-part mini-suites. They’re dense enough to honor the album’s
namesake, a legendary Maui surf break, but still navigable; Justin
Meldal-Johnsen, the veteran producer and multi-instrumentalist who mans the
album’s boards, helps keep Pe’ahi clean despite all the layering and misshapen
sound. Making sure to use every tool in their box, the band plays with
dynamics to amplify choruses and hooks, a choice that yields the album’s
finest moments; when “Sisters” explodes from a pristine harp pattern into a
noisy wall of wild-eyed riffage, it provides a visceral thrill that lasts,
even with repeated listening.
The greater range of tones and textures is coupled with lyrical material that
skews uncomfortably personal. Pe’ahi was written and recorded in the wake of
Wagner’s father’s unexpected death last Christmas Eve, and he spends much of
the album grappling with the complicated realities of that paternal
relationship. “Kill!” is the most obvious example—there’s really no denying
the significance of a line like “One time I saw my dad fuck a redhead whore/ I
never ever thought I would”—but even when Wagner isn’t explicitly discussing
his father’s indiscretions, he’s thinking about the impact that behavior
might’ve had on his own patterns of infidelity. The few tracks on the album
that deviate from this theme aren’t beacons of light and joy, either; opener
“Endless Sleeper”, studded with guttural yelps and propelled by a shifting
breakbeat, recounts a near-death experience Wagner had while surfing in Hawaii
half a decade ago. The Raveonettes are no stranger to bleak, almost decadent
darkness—they’ve always used sex, drugs, and violence as propulsive devices,
and one of their greatest songs is a jangling, ascending ditty called “Boys
Who Rape (Should All Be Destroyed)”—but the level of detail and consistency of
Pe’ahi’s assault renders the album oppressive.
The large evolutionary leap the Raveonettes have made on Pe’ahi raises an
important question: does stepping away from sonic simplicity compromise the
core of the band’s appeal? Though the band’s work has scattered along a narrow
spectrum in the decade since they began their career, that kind of reliability
holds value for both longtime listeners and casual fans. They’ve also come to
serve as an effective “gateway band” for younger listeners who haven’t yet
encountered the band’s considerable influences, funneling those nascent music
fans towards the Jesus and Mary Chain and the meticulous, distinctive pop
craftsmanship of Phil Spector. The diversity of sound the band rolls out on
Pe’ahi is certainly refreshing, but it takes a chunk out of the foundation of
their career.
www.theraveonettes.com
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