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Interpol and the Raveonettes Last night Veronica and i braved the driving snow (although by 7pm, it was not so much driving as it was faltering) and headed over towards Fenway and the Avalon to see Interpol and The Raveonettes. Also playing was Lifestyle, who have now opened for Interpol in Boston twice with their ultra-dated synth pop, but we timed our arrival comfortably after they finished performing. The Raveonettes, a Danish drone rock outfit, excelled in their thumping bass, wall of sound approach. I thoroughly enjoyed their set, although at times i couldn't help but feel they were the second coming of the Jesus and Mary Chain (or third coming, if you count B.R.M.C., or fourth or fifth coming if you count the several incarnations of the actual Jesus and Mary Chain). Still quite good though, definitely more interesting than the aforementioned B.R.M.C.'s indie kid-friendly version. I was particularly taken with the feedback-laden atonal rendition of Buddy Holly's "Rollercoaster" that opened and closed the set. Our last experience with Interpol, at the Middle East in September, was somewhat lackluster, but i was willing to give them another chance to impress live. The opening song, "Untitled", did not instill me with confidence. This is probably my favorite song on their debut record Turn On The Bright Lights, a four minute, mostly instrumental number that centers on a delicate guitar piece offset by the lull of the bass, rising and falling with the drums and more visceral effects from the second guitarist. On record it has a certain emotion and resonance, but live the effects of the second guitar are removed (it plays a pointless backing track mirroring the first guitar) and the whole composition is destroyed. Some other songs sounded okay, notably "Stella Was A Diver And She Was Always Down", but the experience lacks a vitality present on the record. "PDA", their indie hit, sounded really awful. After seeing them twice, my conclusion is that whoever produced their record must be really talented. Moreover, the similarities to Joy Division that i initially dismissed are beginning to tick me off. The singer's channeling of Ian Curtis is undeniable, however it is not aided by the driving bass of a Peter Hook and its potential power falls flat. Nonetheless, the Avalon was sold out and the crowd was lapping it up, so any predictions i might harbor about their imminent fall from indie grace may only be hopeful.
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