The Raveonettes Get Darker, Hopeful on ‘Raven’ — Top 100 Acts of SXSW 2011

Soeren Solkaer Starbird

Toward a finish of a ’00s, a indie universe went psycho for ‘Psychocandy,’ and any guitar rope with entrance to electricity unexpected started creation strain suggestive of that landmark Jesus and Mary Chain album. While a multiple of Ronettes hooks and oppressive feedback has put bands like Vivian Girls and A Place to Bury Strangers during a forefront of a still-thriving movement, it’s value remembering that a Raveonettes got to a celebration first. They’ve been creation their fuzzy, slimey pole given 2001.

Over a final decade, a Danish twin of Sune Rose Wagner and Sharin Foo has amassed a stellar, if underrated, discography, gradually dialing behind a noisiness of their debut, ‘Chain Gang of Love,’ and incorporating other sounds, such as a unreal synths listened on their stirring fifth album, ‘Raven in a Grave.’

Before convention a full subsidy rope — one pronounced to embody dual drummers — and attack a highway to foster ‘Raven,’ Foo and Wagner will conduct to SXSW and perform as a duo. Chatting with Spinner only before a Texas trip, Foo explained because a new record represents a rebirth for a Raves.


Download The Raveonettes’ ‘Forget That You’re Young’ (MP3) off ‘Raven In The Grave’ Free

The new manuscript is being billed as a departure, though it’s rather suggestive of 2008′s ‘Beauty Dies’ and ‘Sometimes They Drop By’ EPs. Did we know even afterwards we were streamer in this some-more electronic direction?

I consider [we knew] going even serve back. To me, it’s still sounds unequivocally Raveonettes. What creates it sound like a EPs is there are some-more synthesizers, some-more keyboards, some-more arrange of ambient sounds. We’ve always been a unequivocally guitar-driven band. It’s reduction of a noise- and guitar-driven stuff. It’s some-more of that electronic, windy sound. What unequivocally creates it sound opposite to me is that it doesn’t’ have that surfy, Beach Boys sound. The beats are unequivocally opposite sounding.

Did we and Sune lay down before creation a manuscript and plead regulating reduction guitar and opposite kinds of beats?

No, it wasn’t a unwavering preference to do anything differently. It was some-more only going for what resonated with us during that point. It’s what we feel connected with when you’re perplexing to make a record. It’s an discerning process. Sune sends me fragments, and we sent him feedback. We try to drive any other in a instruction where we feel engaged. we don’t know how to explain it. [The record] has kind of a subtle, dance-y feel to it, with appreciative atmosphere. It’s arrange of dark. It’s most darker sounding than a prior record, though it’s also unequivocally hopeful.

Did your preference to use reduction guitar have anything to do with a large bands that have come along in new years and emulated your sound? Was there a enterprise to mangle divided from a pack?

We never try to mangle divided from a sold pack. There are a lot of guitars on a record; they’re only reduction distorted. They’re some-more purify and some-more reverb-y. It’s only whatever sounds appreciative to ourselves during a moment. It wasn’t an try to do something different.

If we have to be totally honest with you, we feel like a prior record ['In and Out of Control'] — and we don’t wish to make people feel like we didn’t adore that record — was a record we didn’t feel as connected with in certain ways. There were a lot some-more people involved, and we adore that me and Sune, it was only a dual of us creation this record. It was a close, insinuate routine for a dual of us.

It was a small bit of, “Where do we go? We’ve been a rope for 10 years. What do we do now? Can we do something that will unequivocally make ourselves unequivocally excited, or is this a finish of a Raveonettes? Do we have any some-more to offer?” That was arrange of how we went into a routine of creation a record.

The strain ‘Summer Moon,’ like a final dual marks on a ‘Sometimes They Drop By’ EP, remind me of a ‘Twin Peaks‘ theme. we know you’re a large David Lynch fan — was that a unwavering homage?

Anything you’re desirous by will always be somewhere in a pool of things that we pull upon. It’s in your subconscious. But it wasn’t a counsel try to do something that was ‘Twin Peaks’-inspired. we will contend there are a lot of references to [film composer and visit Alfred Hitchcock collaborator] Bernard Herrmann on this record — like a strain ‘War in Heaven.’ That was unequivocally deliberate.

You’re from Denmark and we now live in Los Angeles. Sune lives in New York City. How have these opposite places shabby your writing?

That’s tough for me to pinpoint. we theory it’s engrossed somehow. Interestingly enough, we were here in L.A. when we were finishing adult a record — we were recording a vocals here and doing some press photos — and we were like, “How do we find a place here in L.A. that resonates with this record?” We wanted it to have sleet and a kind of Danish atmosphere, visually. We finished adult pushing adult to a plateau and sharpened photos adult in a sleet in Mt. Baldy. As we pronounced when we were doing a press release, it’s a ideal winter soundtrack. It’s unequivocally wintry sounding to me.

You pronounced a record was an try to figure out if a Raveonettes have anything left to say, any life left. What did we discover? Are we feeling good about a future?

Yeah, we’re during a flattering certain place. We’ve already talked about what a subsequent record is going to be like, though we’ll keep it a tip for now. we do feel like we unequivocally found a genuine tie again, me and Sune. we consider we’ll take it one record during time, and we’ll only make annals as prolonged as we suffer it, as prolonged as we get vehement about it.

Watch a Raveonettes’ Video for ‘Love in a Trashcan’

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