The Orchard

Ra Ra Riot | Format: MP3 Download

Product Details

• Original Release Date: August 24, 2010
• Label: Barsuk Records
• Copyright: (c) 2010 Barsuk Records
• Total Length: 39:06
• Genres:
• ASIN: B003YEPQL2
• Average Customer Review: 4.2 out of 5 stars  See all reviews (15 customer reviews)
• Amazon Best Sellers Rank: #7,362 Paid in MP3 Albums (See Top 100 Paid in MP3 Albums)

Customer Reviews

Most Helpful Customer Reviews

38 of 42 people found the following review helpful:

5.0 out of 5 stars Ra Ra Review, August 24, 2010

By 

Dr. Rock (Los Angeles) - See all my reviews

This review is from: The Orchard (Audio CD)

Following up an album as good as The Rhumb Line is a difficult task. Ra Ra Riot had a major element working against them: the untimely passing of John Pike, their original drummer and a great lyricist (who penned various songs for The Rhumb Line). They also faced the possibility of a dreaded sophomore slump. Now, I've read some early critiques of the album that say this is just more of the same from Ra Ra Riot... but really, is that a bad thing? Taking a closer look...

The Orchard - A haunting beginning to an eclectic chamber pop album, The Orchard works as a great intro and a fitting title track. (7/10)

Boy - This rambunctious new single falls into the same camp as their catchy single, "Can You Tell." It's hard not to sing along with the relatable, yelped chorus where Wes shows off his boundless vocal range. It's hard to disagree with this song. (10/10)

Too Dramatic - A live staple turned recording, this song is instantly memorable for its catchy 80's vocal melody (and VERY 80's keyboards). The staccato strings also chop in and out in very precise, deliberate strokes that demand attention. (9/10)

Foolish - This song sounds classic to me. I almost feel like I heard it on the radio at some point a long time ago. That's a very good sign. Everything just fits into place very well on this track. (10/10)

Massachusetts - This overlong white-guy reggae song about Massachusetts falls short both lyrically and musically. It's almost as if this song wanted to be something like "Diplomat's Son" but relied too heavily on repetition. It's not bad if you only listen to it for a couple minutes though. (5/10)

You And I Know - Alexandra Lawn steps up to the mic to make her debut and she croons over the Renaissance Fair-synth with a low, jazzy voice. The ethereal backups that come in and out help round out the song. It's a fine debut indeed. (8/10)

Shadowcasting - This one chugs along at a reasonable pace and seems like it would be perfect for blasting out of your radio while driving around during the summer. (8/10)

Do You Remember - The strings really seem to take center stage in this song. The breakdown with strings only draws attention to their intricacies. This song could very well signal the return of the "soft rock" genre, but in a good way. (8/10)

Kansai - Great drumming throughout, and a bouncy bass line keeps this song fun. I think it needs to grow on me though. (6/10)

Keep It Quiet - This is the album's masterpiece. It begins very minimalistic and then a little more than halfway through, a Vampire Weekend-like guitar riff comes in with the violin and cello, making the song truly heart wrenching. [I recommend everyone also check out the Boy Single version.] (10/10)

Overall, I think this album is a great representation of a band that is great at what they do and feel no need to give into gimmicks just to draw in trendy fair-weather fans.

Thanks for reading!

9 of 12 people found the following review helpful:

4.0 out of 5 stars Ra Ra Riot - The Orchard, August 24, 2010

By 

Rudolph Klapper "klap4music" (Los Angeles) - See all my reviews
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This review is from: The Orchard (Audio CD)

I love it when bands surprise me. For someone who thought Ra Ra Riot were like a lesser Vampire Weekend with a string section after 2008's so-so The Rhumb Line, I was ready to push through The Orchard and let it down gently. Then I listened to it, and lo and behold, a band I had written off ends up backhanding me across the face with one of the better albums I've heard all year. Previous fans of the band will no doubt be delighted to hear that singer Wes Miles still sounds like Ezra Koenig, if a little more prone to falsetto, and that the band's bouncy brand of pop-rock is still very much in evidence (just check out that ADD bass line on uber-catchy single "Boy"). But whereas The Rhumb Line was all meaty melodies and festival-ready sing-a-longs, The Orchard feels like a proper album of baroque pop - the songwriting is noticeably stronger, the band takes their time around the tunes rather than jumping headfirst into hooks, and the lovely strings of violinist Rebecca Zeller and cellist Alexandra Lawn seem far more integrated into the affairs here rather than the gimmick they at times appeared to be on their debut.

It's a record that knows that the best way to start an album is not a rookie move like throwing out your best song or first single, but to kick things off with a track that announces a new, determined direction instead. "The Orchard" is just that song, floating along ominous string chords and a pensive bass line without a hint of drums or guitar. The focus is purely on Miles, who sounds like a markedly more assured vocalist throughout the record and never as clearly as he does on "The Orchard." The strings at the forefront is something repeated throughout the album, from the way they add a melancholy note to the otherwise upbeat "Boy" to the way they arch and dip across melodies, putting their indelible stamp on songs like "Do You Remember" and "Kansai." The fact that Zeller and Lawn are the centerpiece of songs rather than a touch of color here or a flourish there makes The Orchard everything The Rhumb Line hinted at but never accomplished: the sound of a complete and full band, utilizing an array of sound and talents in a more organic way than many of their peers.

Not to say that the rest of the band suffers in comparison. Drummer Gabriel Duquette is the unsung hero here, laying down a number of intricate beats that always propel things forward but never overwhelm. Like the National's Bryan Devendorf or Bloc Party's Matt Tong, Duquette has some impressive chops (check out his subtle work on "Massachusetts"), but uses them more to build a rigid rhythmic framework than show off. Everyone contributes, whether it's consistently fantastic rhythm work, airtight melodies and subtler hooks, or Miles letting Lawn on the mic for the excellently Fleetwood Mac-ish "You And I Know." There are a few missteps; seriously cheesy synths midway through "Foolish" mar some perfectly good dream-pop, and the sluggish "Keep It Quiet" ends the album with a whimper rather than a bang. But perhaps that's to be expected - The Orchard is nothing if not a sharp left turn from the cheery, thumping pop of their debut, and ending it on its most plaintive note is sort of fitting. It's also everything I wanted from a sophomore effort: sophisticated, confident, surprisingly layered, and endlessly entertaining. It's always exciting when a band seems to get it and come into their own as a group - with The Orchard, Ra Ra Riot have finally created a distinctive identity all their own.

2 of 3 people found the following review helpful:

3.0 out of 5 stars Solid but unspectacular follow-up to stunning debut, November 24, 2010

By 

J. Leard (Waterloo, IA United States) - See all my reviews
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This review is from: The Orchard (MP3 Download)

I don't envy bands like Ra Ra Riot, who explode onto the scene with a compelling story and even more compelling music to back it up. Debut album "The Rhumb Line" was a joyous and beautiful collection of chamber pop. The band immediately drew comparisons to fellow indie darlings Vampire Weekend, though Ra Ra Riot owes less to world music and more to classical influences. Whereas Vampire Weekend went all in on their sequel, the lively Contra, Ra Ra Riot has dialed it back a bit. A pop band with strings, they decided that more strings and mid-tempo tracks, with less uptempo pop, was the way to go. While the backing strings are tighter and do bring more to the songs, adding a welcome texture to the album, the melodies don't rise quite as high as they did on "The Rhumb Line", and the verve and passion that brought that album to life is largely missing.

It seems that Ra Ra Riot intentionally avoided trying to match their previous work, and while it's good to see them avoiding the pitfall of cribbing off their own notes and making new songs indistinguishable from the old, what remains just isn't as inspiring. There are some solid tracks, and Alexandra Lawn's vocals on "You and I Know" are a welcome change of pace, but for the most part, "The Orchard" lacks the fire and passion of their debut. "Massachusetts" is repetitive and pedestrian, and many of the songs don't stick around in the listener's head once they're over. "Boy" is bouncy and fun, but large stretches of the album saunter forward at a languid pace. In measured doses this can work, and if the melodies are lights-out it can excel, but it langours in long doses without the substance to carry the album through.

It's certainly not a bad album, and if this were their first effort it would probably be viewed in a more positive light. Perhaps I'd be intrigued at this band's sound, wondering what a couple years of touring and recording could do to tighten it up. With great success comes great expectations, however, and that's the curse of "The Rhumb Line." Ra Ra Riot gets to live with having made a brilliant first album, and they must now spend the rest of their career figuring out how to match it, or at least come close to recapturing that rapturous magic. Their first follow-up isn't a complete failure, but it isn't really a success, either.