Customer Reviews

LP4

5 star:		(5)
4 star:		(5)
3 star:		(2)
2 star:		(1)
1 star:		(0)

 

 

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!!

LP4 is a "weirder" continuation of what Ratatat experimented with in LP3, continuing the trend of almost all instrumental guitar and synthesizer rifts with the occasional sound byte. Having been made in the same recording session as 2008's LP3, its too bad the album couldn't have come sooner, but Ratatat continues to deliver, and if your a fan of imagination inducing music, then you won't be disappointed.

First the Bad: The album delivers a variety of good songs, but no amazing songs. You won't see immediate "blow your brains" songs in this album like Classics "Loud Pipes" or LP3 "Mirando". The sound bytes used aren't as effective in this album. Where they've succeeded in say Classic's "Wildcat", with the ferocious roar of the wildcat, the soundbytes of Mike's interview with Linda Manz don't serve the songs they're in and are more for comedic purposes. The worst song is "We can't be Stopped" as its the most boring song on the album and doesn't culminate to anything it sets up for.

But the Good!!! As mentioned above, its a very well-rounded album with all good songs with great melodies. The album has a nice unity to it, as most songs often lead into the next beautifully. Because they don't rely on vocals, they bank their successes on catchyness, and LP4 doesn't disappoint. There are no particularly bad songs like there was in LP3 (a bit of a mixed bag in my opinion), and their experimentation with new strings pays off in songs like "Mahalo", "Bare Feast" and "Sunblocks", which all have very distinctive sounds. The best song is arguably "Bilar", which is equal parts weird and captivating.

Conclusion: Ratatat delivers the goods once again. And despite the repetitive album name, Ratatat continues the trend started in LP3 with a higher rate of success in their fourth iteration. Add this one to your collection.

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.

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. Without delving too deeply into any sort of "authentic" styles, these tracks are still permeated with thematic qualities, creating the illusion of very clever and very original video game music.

THE LOWDOWN: Describing "LP4" in such a way is not meant as a negative criticism. Instead, consider what might happen if Brian May made a video game score with Daft Punk that was produced by Trevor Horn. Add a little multiethnic appropriation and you'd have something not unlike "LP4."

I have literally never written a review on Amazon before, but I think this calls for a first.

This album is fantastic. A lot of people say its not better then Classics and perhaps even LP3, and PERHAPS when you listen to it at first its true; however you very quickly fall in love with what they tried to accomplish with this album. Taking a very southern Southern SOUTHERN tone, with a mix of ambiance and animals tones, they have created a wickedly addicting and creative album. Where Classics is just... well... Classic, and where LP3 is the perfect additive for movie credit scores, LP4 is a touch to your native side.

MUSE used to be my favourite band. Ratatat has been rapidly replacing them.

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.

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.

Ever since Ratatat's start in the New York suburbs in 1999, many critics find the Ratatat duo, Mike Stroud and Evan Mast, to be either brilliant or ignorant. I find them to be brilliant. Over a decade into their career, the duo has grown in popularity with their music being categorized into many genres, including hip-hop and electro-rock, with a hint of slide guitar. Despite a throwaway culture, Ratatat has managed to fill venues and sell albums with their funky, yet danceable tracks.

The duo's most recent album, LP4, started where LP3 (their previous album) left off. In fact, according to Stroud, LP4 was recorded simultaneously with LP3. With that being said, it comes as no shock that LP4 gives off the same vibe and feel with its sounds palette. Stroud and Mast evolve LP3 into a more bombastic sound with the introduction of more string sections and autoharps. LP4 includes many tribal drum kits to give the album a thicker, more complex texture as well as a more diverse experimental feel. The last noticeable difference between LP3 and LP4 is the addition of dynamic vocals being worked into the tracks. The duo last used the vocal techniques in their second album, Classic, and they were well received by fans.

Although LP4 contains a little more variety and sounds much more developed than previous albums, I have to say LP4 fails in comparison to LP3. LP4 sounds like a desperate attempt to add variety to LP3. In fact, if LP4 were a party, it would end at 11 whereas LP3 would continue into the wee hours of the morning. LP4 consists of 12 tracks with 1 bonus track. However, of those 12 tracks, I struggle to pick out six tracks that I would recommend to friends.

Ratatat kicks off the album with the track "Bilar;" a great choice in my opinion. With its drone sounding guitars and its dark hip-hop beat, "Bilar" gives the listener a feel for what is going on throughout the world today. The track is very hectic and constantly changing just like the world we live in. Ratatat definitely knew what they were doing when they put "Bilar" at the number one stop of LP4.

"Drugs" is another obscure track and contains a lot of Ratatat's signature guitar riffs, which fans have loved since their first album. The track starts off very somber and low key almost as if the track is meant for a solemn movie seen. However, 30 seconds into the track, Ratatat brings in their signature guitar riffs and beats from their hit song "Lux," both giving "Drugs" a disco/hip-hop feel.

"Mahalo" is a standout. It is without a doubt one of the more creative pieces Ratatat has produced. They take their signature riffs and beats and transform the track into a Hawaiian masterpiece. "Mahalo" is a very low-key track, allowing the listener to sit back and relax, wishing they were sitting on the beach with their feet in the sand. Ratatat completely blows my mind with their ability to produce "Mahalo."

Unfortunately, all parties have to come to an end, and as I mentioned earlier, LP4 ends at eleven. The early ending is mostly due to the track "Neckbrace." The track remains very smooth and funky throughout. However, the song's downfall comes early into the track when I begin to feel as if I am listening to a homeless street performer playing buckets and trash can lids. From this moment on, "Neckbrace" completely lost me and had no chance of recovering. In fact, the only reason I listened to "Neckbrace" all the way through was because I got caught up looking for spare change to donate to the performance.

In the end, LP4 receives a mediocre grade. The album contains a tremendous amount of variety and complexity, allowing the album to free itself from boredom. However, I fail to see myself eagerly opening up my Itunes to listen to LP4, and it is safe to say that LP3 avoided any chance of being knocked down a notch on my list.

I know this is probably a little early to review the album but I am currently listening to it for the first time. I have listened to their first album several times but not in depth. I think that this shows some more variety from that other album and while I can't yet say that I have heard the rest of their discography, this seems to be a nicely diverse album. Without comparing the album to other work of theirs, I think this is a must buy. It is quite incredible. Every track I say wow too. I don't know if this will be an album to change my life, otherwise I would give it 5 stars, but this is pretty awesome stuff. Worth purchasing.

i like their first two albums more than this, but i still did enjoy this album. i haven't decided if i am going to buy their third album?