LP4

June 8, 2010 | Format: MP3

$9.49
Song Title
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Popularity  
30
1
4:13
30
2
4:54
30
3
4:05
30
4
2:10
30
5
4:00
30
6
3:42
30
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2:01
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8
2:57
30
9
3:41
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10
2:37
30
11
3:55
30
12
4:20
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Product Details

  • Original Release Date: June 8, 2010
  • Release Date: June 8, 2010
  • Label: XL
  • Copyright: 2010 XL Recordings Ltd.
  • Total Length: 42:35
  • Genres:
  • ASIN: B003JOKU04
  • Average Customer Review: 4.3 out of 5 stars  See all reviews (22 customer reviews)
  • Amazon Best Sellers Rank: #13,072 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Most Helpful Customer Reviews

7 of 7 people found the following review helpful By Jeff Hodges on November 21, 2010
Format: MP3 Music
Outside of the general categorization of electronica, "LP4" defies a more specific description. When I was exposed to "LP4", its organic, thematic qualities immediately caught my ear. Those familiar with Jean-Michel Jarre may recognize "LP4" as a more playful species of his work, while fans of Daft Punk will also find a lot to relate to. Ratatat takes electronica as seriously as Daft Punk did in the late 90s, but "LP4" is less expressly geared towards dance culture. It will undoubtedly get some heads bobbing, but Ratatat's atmosphere and aesthetic are also geared towards active listening. They mine the creative potential of electronic medium like Trevor Horn and the Art of Noise did in the 80s.

Unlike their elders, however, Ratatat enjoys a technological environment in which electronica has the increasing potential to sound less electronic. This grants a relatively small and underground group like Ratatat the capacity to create music of vast sonic complexity. What took Jarre a roomful of synthesizers and technicians in the 80s now can be done on a club stage with a more efficient and autonomous laptop. This organic side of Ratatat also emerges no small part due to guitarist Mike Stroud. His insistently melodic and sometimes epic style is playfully reminiscent of Queen's Brian May. His use of processing creates walls of guitar that certainly recall May's studio approach.

Upon listening to "LP4," the powerful rhythmic hooks of the track "Drugs" immediately struck me. The following track "Neckbrace" is a similarly driving pastiche of strings and indescribable melodic electro-vocals. These upbeat songs are counterbalanced by darker, more atmospheric pieces like "Bare Feast," which pushes harpsichord right up against Panjabi drums.
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13 of 15 people found the following review helpful By Cameraon Swagger on June 8, 2010
Format: MP3 Music
While many of these songs were recorded during the same session that produced LP3, the two years of re-working the songs has produced a new sound that is noticeably different than LP3, while still keeping the distinct Ratatat flavor. The pure genius of multi-instrumentalist and producer Evan Mast and guitarist Mike Stroud shines with this new album, keeping the listener regardless of the times played. Overall Amazing Album!!
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2 of 2 people found the following review helpful By PuroShaggy on February 27, 2011
Format: Audio CD
For an instrumental album, composed and performed by two guys with a synthesizer and a guitar (with a couple engaging sound bites to mix-up the landscape), LP4 is another impressive outing by Ratatat.
How to describe the music on this album? At times, it reminds me (in a good way)of one of those slick, 70's session player albums that Jeff Beck or Boz Scaggs put out. The sound is bright and poppy, the melodies are non-stop, and there is so much going on in each song- in this case, such a wide-variety of synthesized yet enjoyable sounds- that the lack of vocals never gets dull or repetitive. Every song sounds like Ratatat, yet hints at other genres and/or artists in respectful ways. "Neckbrace" sounds like one of the aforementioned '70s tracks, driven by some funk inspired bass. "We Can't Be Stopped" sounds like an Elton John ballad, one of the wonderfully overproduced ones from the '70s. "Bare Feast" dabbles in middle-eastern flavors and would not be out of place on an M.I.A. album, while "Bob Gandhi" can't decide if it belongs on a Talking Heads or TV On the Radio release. Song after song, Ratatat produce their own versions of musical ideas indulged more in depth by other artists without coming across as merely playing lip service.
This is not their best effort, either in terms of consistency of tracks or in terms of staking out new territory. It is, however, undeniably Ratatat, which is original enough to make this electro-pop, percussion driven, synthesizer celebrating release a worthy purchase.
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2 of 3 people found the following review helpful By bb on September 29, 2010
Format: Audio CD
The newest from Ratatat is as good as electronic music gets, with plenty of Stroud's crying, talking guitar and Mast's Atari-inspired hypnagogic dream beats. LP4 borders on the baroque, sometimes the exotic, with intricate arrangements and a wide range of textures. Their basic sound--you like it or you don't--sees permutation and recombination of prog-like complexity. Just like the violins (or is it Theremin?) in Schindler's List can trigger you to tear up, Ratatat's instrumentals are doses of emotion, moods manifested, keys to your amygdala. Their newest album varies from infinitely danceable hip-hop (as heard on their collaboration with Kud Cudi, "Pursuit of Happiness") to robot porn score, from club scene to sound-painted tropical island. Serene "Mahalo" is a highlight, as is harpsichorded "Alps." I can't pinpoint what feeling the ephemeral "Sunblocks" gives me, but it's between glorious and dire. Meanwhile, "Mandy" sounds like West Coast rap until Ratatat's tested classical touches and sound effects crop up. Much of the same from the New York-based duo, but always in unbounded reincarnation.
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2 of 3 people found the following review helpful By kalechips on June 18, 2010
Format: Audio CD Verified Purchase
If you're a Ratatat fan, you will not be disappointed with LP4. Even though it's a clear departure from what they've done in the past, it's still distinctly Ratatat. And by that I mean: there's a lot of creative percussion (ROWDYY! and awesome) and a great assortment of weird sounds blended in a dazzling way. Evan and Mike have said that it's important to them, as musicians, to make up for the absence of lyrics in their music with interesting melodies--and it's nice to see artists have integrity with that these days. "Sunblocks" (absolutely beautiful) and "Party With Children" are probably my favorite melodies on the album. Other standout songs are "Drugs" (my favorite from the first listen), "Grape Juice City"(multi-layered percussion greatness), and "Alps" (this one could bring me to tears).

As with some of their past music, a few songs on LP4 might take a few listens for you to decide how you feel about them. I think this was the case for me because there is a LOT going into your ears but once you become more familiar with it all, you start to really REALLY enjoy it.
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