Ratatat - LP3 Review
Posted by James Palm on 07.14.2008
Partners in crime Mike Stroud and Evan Mast, better known as guitar-electro kings Ratatat, return with their unimaginatively titled third album. Thankfully, the music is far more complex and interesting than the title.
Instrumental bands have enjoyed a resurgence of late. As fashionable nostalgia shifts from the late 80’s to the early 90’s, bands such as Tortoise have inspired a new wave of artists to forgo the pesky process of writing lyrics and concentrate on creating magnificent musical palettes. An emerging partnership in this movement has been that of guitarist Mike Stroud and producer Evan Mast, two musicians who decided to follow a slightly different path than the instrumental leanings of Explosions in the Sky. The long-time friends but recent collaborators put out the first Ratatat album in 2004, followed by the fittingly titled Classics in 2006. The latter launched the duo onto the global stage, and the once impulsive nature of the band has now become a full-time dedication, though the unimaginative title of the album suggests otherwise.
On previous recordings and outside live shows, Stroud and Mast have steered the ship alone, and while their creative hybrid of hip-hop and electronica can only be described as ‘addictive’, sooner or later they were going to have to deliver more than just hypnotic guitars. The first thing to strike you about LP3 is how long it takes before Stroud’s signature sound drifts into the mix, and even then he restrains himself, allowing new elements to lead the way. Until said interjection, opener “Shiller” glides along a number of synthesizer effects, evoking images of a rustic carnival ground. Stroud used to lead the way, but now the band’s milieu has changed.
Whereas previous material has been primarily concerned with danceability (it’s a word now), the modus operandi for Ratatat now appears to be crafting an enduring collection of songs, suited not just for clubs but the bedroom also. These new sensibilities come to the fore on tracks like “Mirando” and “Mi Viejo”, the latter a tranquil African influenced track featuring heavy use of the bongo. “Mirando”, meanwhile, is a smorgasbord of fresh sounds, Mast going sample crazy, but not in a bad way. The track is the closest link to the dynamic rhythms on the two previous albums, but with a little something extra. Early press promised a return to the band’s hip-hop roots, and as far as beats are concerned, they’ve certainly delivered on that promise.
Another new feature of the Ratatat configuration is the use of bridging tracks. Normally this is a waste of a good rhythm, “Flynn” especially. But with the succession of wavering melodies far more scattered than previous material, the album feels more complete because of them. On the whole though, tracks are shorter, and for the first time, tracks clock in at less than two minutes; the aforementioned “Flynn” and a Gogol Bordello inspired ditty titled “Gipsy Threat”. Other tracks, such as the murky and Eastern-influenced “Mumtaz Khan” leave you hanging. If you were partial to Classics, then tracks like this may alienate you, but there’s still plenty to keep you interested. “Shempi” is the album’s best example of new and old styles merging successfully; simple rhythms enhanced by space-age blends of guitar and whatever instrument Mast finds handy.
The renowned pair has certainly been experimenting, but fans should not despair. Beneath the samples, Stroud still lets loose with the same prolonged style that made Classics so addictive. Lyrics are unnecessary when you find yourself making alliterative noises to accompany those made by Stroud. Though it hits a far cheerier register than expected of these two, “Brulee” demonstrates the pair’s abilities to illicit as many emotions through effortless compositions as some bands struggle to do with their precious lyrics. Some songs do reach a point where the seasoned music fan would expect to hear vocals, such as “Falcon Jab”, however the layers upon layers of sound in this song particularly tend to fill the hole quite nicely.
As if they were challenged by an outer source, Ratatat attack new genres and new styles with the intention of broadening their palette. Or perhaps they’re just showing off, as LP3 is another intoxicating collection of music to live your life by. Their previous work has ironically been sampled across several media, mostly in advertising, but I don’t think we’ll have that problem here. Ratatat have gotten more ambitious in their composition, improving what they already knew they could do instead of undoing all their good work. The expansion of the instrumental lineup keeps the album sounding fresh right until the eccentric and orchestral closer “Black Heroes”, a Sunday afternoon song suited to good times with friends. As their profile expands, my guess is that this duo will come into high demand for their production talents, so listen up while you can.
The Hit - Mirando The Encore - Shempi The Wah? - Flynn. It's too short.
The 411: Ratatat used to exploit your emotions through guitar lines that acted like drugs. Now, they've upgraded, and they use strings, flutes, and keys to get you up and grooving. It marks a shift in the band's thinking and ultimately, the need to dance to LP3 is less than that of its predecessors, which means most of your appreciation will come on the bus or in your lounge room. If this is your first taste of the band though, make yourself at home.
