6.5
The Danish noise pop group The Raveonettes have returned with their seventh album out on Beat Dies Records. The Raveonettes juxtapose the digitized distortion of their noise pop with velvety arpeggiated dream pop guitar stylings as a common theme on this record. Other songs like 'Killer in the Streets' adhere to a more radio friendly pop aesthetic. This song sounds like a more predictable b-side from the psych-pop band MGMT. Whereas they still pay homage to shoegaze traditionalists like on the songs 'Summer Ends' and 'Z-Boys' whose opening guitar tone seems copied and pasted from a Beach House track.
When The Raveonettes aren't emerged in a layer of thick digital distortion or caressing a dreamy melody they also bring an adventurous approach to alternative music like on the song 'When the Night is Almost Done'. A varying soundscape of noise and gentle make up of bells and soft sounds. 'Wake me Up' has an introduction which sounds like it could have possibly been a sample of an old X-files theme song that didn't make the cut. The rest of the song consists of dissonant sounds being accompanied by a steady paced drum beat and softly spoken vocals.
It is not unheard of, or even remotely strange to have vocals play more of a texture roll than a lyrical aspect on shoegaze records, and with the heavy reliance of texture, Pe'ahi is no different. That being said, on tracks like 'Z-Boys' and 'The Rains of May' the vocals are mixed so quietly that they become almost completely incoherent and ends up being more of a distraction to try and decipher them then it is to appreciate what it attempted to contribute to the track. The whole album features themes of dissonance and juxtaposition to create their most recent shoegaze mess.
No comments:
Post a Comment