If there is a difference between The Raveonettes latest album, Pretty In Black, and the band’s previous outings, it is a lack of constraint.

Sticking to a self-described Ramones formula for writing music, the Danish duo released their two previous albums – 2002’s EP Whip It On and 2003’s full-length album Chain Gang of Love – using a specific keynote for each album and a limited time length of each track.

However, with Pretty In Black, say goodbye to the formula and hello to diversity. Absent are the all B-flat-minor notes of Whip It On, the all B-flat-major notes of Chain Gang of Love and the forced pairing of songs to fit into three minutes slots. Instead, The Raveonettes plunder different musical genres picking and choosing which sounds will fit them best.

The band’s classic 1950s music influences, such as Buddy Holly and the Everly Brothers, are still present throughout the album. However, now parts of the band’s sound has been refitted with the catchy twang of a surf-rock guitar or a toned down New Wave keyboard.

Tossing the gimmicky formula might have been best thing the group could have done. Not only does Pretty In Black allow the bandmates – Sune Rose Wagner and Sharin Foo – to explore a more mainstream sound that still fits with their set nostalgic pension for dual male-female harmonies, it also keeps pace with current industry trends.

Sadly, however, Pretty In Pink is not the retro remix album listeners might expect. It’s good – far better than one would guess coming from a band that seems as though its members were born in the wrong decade, but overall The Raveonettes new found affinity for sampling has created a disjointed album.

The album’s first single, “Love In a Trashcan,” will undoubtedly hit the airwaves and send a few listeners in search of the album and rightfully so. Yet, as looks can be deceiving, so can sounds. The album’s opening tracks – “The Heavens” and “Seductress Of Bums” – give the impression that the album is filled with Golden Oldie-inspired mediocrity. These track positions are typically reserved for songs that will draw listeners into the album, making it strange that these two songs were placed so early on the track list. Tracks such as the upbeat cover of The Angels’ “My Boyfriend’s Back,” (not surprisingly written by The Raveonettes co-producer Richard Gottehrer), would have served better as one of the first two tracks instead of being pushed to the middle.

With guests such as Spector, Martin Rev from the Suicide’s and Moe Tucker, Velvet Underground’s drummer, The Raveonettes have cleaned up their distorted sound from its previous albums in favor of a crisply produced sound that fits well with the bands attempt at mainstreaming. These sound are most evident on tracks such as “Twilight” – a combination of surf-guitar, techno beats and window-steaming lyrics about sexual longing – and “Ode To L.A.,” which features Ronnie Spector from the Ronettes sounds almost fragile compared to Wanger and Foo. Add these two tracks and “Somewhere In Texas,” a drum- and harmony-driven song, and Pretty In Black has a strong core of songs listeners will enjoy.

Though The Raveonettes have matured and created lyrics that are as provocative as privies recordings, Pretty In Black is only the first step in what will hopefully be a follow-up album held together by a set thought and not a whimsical collection of songs loosely related by vocals and lyrics.