They haven't even released their major-label debut, Chain Gang of Love, yet, and already Sune Rose Wagner and Sharin Foo of the Raveonettes are trying to kill each other.
"He tried to smother me," bassist and vocalist Foo revealed. "Then I tried to throw him out of a big stairwell."
For the moment at least, the Raveonettes' homicidal desires exist strictly in their upcoming video for "That Great Love Sound," the first single from their debut LP Chain Gang of Love, which comes out August 12.
"There are all these little evil things we do in the video," Foo continued. "He tries to throw me from a driving car and I try to poison him. It was very freeing to do because we literally live together 24 hours a day, and sometimes we get really mad at each other. I've never actually wanted to kill him, but I might feel different in two years."
The clip was shot in London by Sophie Muller, who has also worked with Coldplay, Radiohead and PJ Harvey. For the uninitiated, it provides a glimpse into the playfully dark vision of the Raveonettes.
"It's like a Hitchcock kind of thing," said Foo. "There's a movie glamour to it, but the violence and sex don't seem real. It's like we're sort of detached from it all."
Lyrically, "That Great Love Sound" addresses the emptiness and frustration of thwarted romance.
"It's about the kind of unhappy situation when someone just f---s you over," Foo said. "But it has the kind of spirit where it's not depressing. It's just kind of saying, 'If you walk on me, it's just gonna f--- you in the end.' "
When the band assembled songs for its 2002 EP, Whip It On, it purposefully wrote all of the songs in B-flat minor. This time, the Raveonettes intentionally shifted the B-flat major. Why?
"When you write songs in minor it tends to be more dark and introverted sounding," explained Foo. "Somehow, writing in a major key makes the songs more bright and adds a melodic, poppy feeling to it. Major is the happy key."
Don't be fooled. Chain Gang of Love is still packed with menacing feedback, droning guitars and '50s girl group-style vocals that help make the songs menacing and surreal. But maybe the songs are a touch more hopeful.
"We're still writing in B-flat, so there's some darkness there still," Foo explained. "We still like that, and we like the noise and the distortion and dissonance. That's part of our sound. But I really see this record as a celebration."