The job I was holding down in the first few years of the 21st century involved long hours, a fair bit of travelling and a requirement to drop things/change plans at very short notice. I loved it, but the downside was that there wasn’t a great deal of leisure time and it was a period when, for instance, I was going to very few football games as my Saturdays and Sundays were precious.
One of the few ways I was able to keep up with new music was through flopping down on a couch and turning on the television to browse through the video music channels, more often than not settling on MTV2 which was best for the sort of indie/alternative nonsense that was my forte.
It was via this medium that I came across this piece of music:-
The video was something to be behold, being a horror/ghost/revenge story, shot entirely in black and white with the two singers/performers looking as if they had just stepped off the catwalk of some fashion show in a top class European city. I had no idea who The Raveonettes were – my hunch was that they were American, mistly likely from either NYC or LA – but I made a mental note to buy something the next time I was in a shop. Of course, nowadays I could just press a few keys into a search engine to find out more and then a few minutes later place an order which would come to my house or place of work within a couple of days, but this was the prehistoric era back in 2002……
It was a huge surprise to learn that The Raveonettes were from Denmark. It was less of a surprise to learn that this was their debut single that had been lifted from a mini-album that had crept out a few months previously. The biggest surprise, however, was seeing that the band were on Columbia Records, one of the largest multi-national labels on the planet, although I should have realised that no small and independent label would have been able to fund the promo video:-
The single was issued on 7” vinyl and on CD. Here’s the various, and all highly enjoyable, b-sides:-
The Raveonettes blend of surf/garage/indie proved to be reasonably popular, slightly above mere cult status but never gaining full commercial acceptance. Columbia let them go in 2005 after two albums, but there have been six records since, initially released on the Canadian-based Vice Records and more recently on their own Beat Dies label. There’s been some more than decent stuff over the years, but nothing has ever quite grabbed me in the same way as the debut.