An extremely accessible listen with plenty of pop moments.
Chris Beanland 2009
Most bands are composed of ego-maniacs so self-assured that the only time they begin to question whether, perhaps, that 12-minute epic on their last album was a bad idea is the moment they’re dropped and flung out of the closed doors of the record label offices by security.
Not so The Raveonettes. The likeable Danish duo have taken the unusual step of making a record that, if not a collaboration with their fans per se, certainly invited ideas, debate and input throughout its recording, via the web. This is a laudable and forward-thinking step which, rather than just briefly acknowledging the notion of ‘fans’ when the band want to flog something, shows a deep respect for people who enjoy their music – and must mean a great deal to said individuals.
In business terms it keeps the people who are going to buy the album on side, but in creative terms it has – mostly – worked, too. Sharin Foo and Sune Rose Wagner’s vision is not as singular as it was – there are more pop moments on In and Out of Control than previous, rockier offerings, and there is a greater effort made to appeal to more people. The wishes of the crowd catalyses ideas into templates that appeal to the many rather than the few, which is why this album is an extremely accessible listen.
Nevertheless, this fourth album still simmers with the purring retro-rock that we’ve come to expect from the pair. It lashes out in places too, notably the vicious Boys Who Rape (Should Be Destroyed) – vicious words are held up against a vicious act, though in an odd but interesting nursery rhyme format.
By balancing what fans have come to expect with what they’re wanting in the future, the pair have crafted an album that ticks boxes enough to see them rolling onwards with an effortless cool. There are no chinks in the chain gang just yet.