LP4 picks up right where Ratatat’s previous album, 2008’s LP3, left off. This doesn’t come as a surprise, since the sessions at Old Soul Studios in Upstate New York that crafted LP3 also gave birth to their newest release.
The duo of guitarist Mike Stroud and multi-instrumentalist/electronic mastermind Evan Mast have been crafting their music since 2004, when they released their self-titled first album. Since then, they’ve released Classics, with which they further refined their sound, Remixes Vol. 1 and Vol. 2, two albums that showed off their, well, remixing capabilities, LP3 and LP4, which brings us to the present.
With this new album, we see the addition of a full string section. Whether they’re cloaked in sound effects or staring you straight in the face, it’s the string section that adds emotion to Ratatat’s unique blend of rock, electronica and, at times, world music. Other additions include a sample from the film Stroszeck by Werner Herzog, where the protagonist talks about his keyboard, as well as recordings of actress Linda Manz. Mast wanted to use a sample of her in the movie Days of Heaven. When he was making calls to try to get the go ahead, he ended up at Manz’s house, where he recorded an interview with her. Portions of this interview are used as samples throughout the album.
Album opener is “Billar,” starts off as a slow hum and develops into a snappy beat, which further develops into acoustic guitar flicks, shakers, tempo changes and almost hauntingly dark synth lines. “Drugs” starts off slow, with strings and a piano filling what appears to be empty space. Suddenly, the classic guitar fuzz appears like a genie from a lamp. A second guitar is added, once again carrying the classic lead guitar riffs Stroud is known for.
“Neckbrace” brings something new to the table that hasn’t been included in the duo’s music until now: the talk box. While it’s not as revolutionary as Peter Frampton barking away through the effect, the duo has applied the talk box in a way that makes it nearly impossible to avoid dancing. It doesn’t just stick out like a sore thumb, it blends with the beat.
The first single off LP4, “Party With Children,” sounds like the title implies. A harpsichord is used to keep the track light and playful, though it still works amidst the whining guitars and blaring synth lines. Other notable tracks include “Mahalo,” which sounds like it was crafted as the duo lazily lounged around on a Hawaiian beach, with touches of ukulele and other mellow, assorted strings, as well as “Bare Feast,” a track that takes on a Middle Eastern vibe, with a sitar audible between beats, mimicked by a fuzz-heavy guitar.
However, it’s nothing we haven’t heard from Ratatat before. Like many “electronic” acts, innovation sometimes falls short. LP4 is a step in a different direction when compared to their back catalogue, yet is somewhat similar to LP3. Overall, it’s a great album. Each track stands well on it’s own and yet, the album flows smoothly as a single entity. LP4 is a logical successor to LP3 both in title, and musically but what lies ahead for Ratatat is unknown. We’ll just have to wait for Ratatat’s next album to see whether they’ll branch out or continue to follow in their own footsteps.
