The Raveonettes are the latest group to jump into the fray of”retro-rock” groups like the Hives, the Strokes and the WhiteStripes. While this Danish group may appear to share theaforementioned groups’ affinity for dirty hair and Jagger-likeposes for the camera, they are leading a different revival withtheir debut LP, “Chain Gang of Love.”

More attuned to Buddy Holly than the Stones, the album serves adelicious slice of that treat we all loved but have forgottenabout: surf music. And they do it well, adding enough additionalherbs and spices to make it fresh and worthy for consumption.

Recorded entirely in Bb minor, “Chain Gang of Love” is asurf-de-force with a great pop-rock sensibility. Dick Dale-likeriffs and tambourine crashes counter a hypnotic and powerful basswith just a dash of good-old fashioned feedback. What comes out arebarrels of melodic three-chord tunes that roll along blissfully,seemingly headed for a crescendo, but ultimately content to rollback like a wave that looks ominous but settles harmlessly onto thealready wet sand. And that is the beauty of “Chain Gang,” as eachtrack seems to melt into the next.

This is an album in the classic sense. It is driven by a moodthat seems akin to a day at the beach after a few beers in the hotsun: sleepy, surfy, half-naked, amorous and somewhat distorted, yetgenerally amiable and peaceful.

Unlike the day at the beach, they don’t hang around long enoughfor that dreary feeling of sobering up to set in. The album clocksin at a tidy 33 minutes.

While Jakob Hoyer is credited with drums and Manoj Ramdas withrhythm guitar, the Raveonettes are essentially a two-person band.The brainchild is writer and guitarist Sune Rose Wagner, who seemsto have inherited the gift of the surf riff for our generation. Hispartner in crime is Sharin Foo, a Blondie look-alike with aferocious bass in her hand. There is magic between the twoperformers, as they create a sound that is at times perfectlyharmonious.

Don’t be fooled by the ever-present feedback, lest one overlookthe beautiful synergy in the tunes. Rather than employing adominant guitar as many retro-rock outfits have done, Wagner optsfor the short, well-timed riff. While he can certainly lay down amelody, the group is at its best when he uses his guitar toharmonize and texturize Foo’s heavy basslines.

For her part, Foo is merciless with the bass, being theever-present and underlying force of the band’s sound. She utilizessimple, driving rhythms to lure in and ensnare the listener.

In addition to the intertwining of their instrumentation, Wagnerand Foo also share the singing duties on virtually the entirealbum. Using a largely homophonic style (think early Beatles ifMcCartney was female) to create one dreamy and yearning voice, theycroon about the eternal subject of love and its pratfalls.Potential hits litter the 13-track LP, including “That Great LoveSound,” “Heartbreak Stroll” and the unusually melancholy “Love CanDestroy Everything.”

While the Raveonettes will never be accused of leading a musicalrevolution, they do know how to do one key thing well: make a goodalbum. “Chain Gang of Love” is a fun and infectious serving of surfand rock that would have fit in nicely in 1961, but tastes betterthan ever today.