Keys vary over the course of the album, and all but three tracks defiantly bound past the three-minute mark. If the Raveonettes adopted any specific musical constraints on Pretty in Black, they're not very evident. ![]() For all their reverence for Gene Vincent and namesake Buddy Holly, the Raveonettes weren't revivalists so much as revisionists, retrofitting their rock with all the explicit sexuality and dark violence that 50 years ago could only be conveyed implicitly. ![]() These self-imposed constraints, along with liberal doses of distortion, created an intriguing duality: They put the band closer to their 1950s rock influences and made them sound much more primitive than they actually were, but the scuzziness of their sound also put a modern stance on their backwards glance, making their nostalgia for 50s delinquent cool much more useful than the rampant 60s garage rock retro.
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