Ever since Mike Stroud and Evan Mast began recording their unique fusion of electronica and rock on a simple PowerBook, their band Ratatat has steadily been accepted into the upper crust of the indie rock scene. With smash hit “Seventeen Years” — the first single off their eponymous 2004 debut — Stroud and Mast demonstrated their masterful combination of edgy guitar riffs and soaring synthesizer beats. It was not until the aptly named Classics, however, that the duo truly came into their own, with the fierce dance single “Wildcat” making converts of anyone who heard it.
Ratatat’s greatest strength comes in their ability to infuse a huge variety of songs and genres with their electronic/rock blend. In addition to remixes ranging from Björk’s “Wanderlust” to the Shout Out Louds’ “The Comeback”, Ratatat has self-released two volumes of rap remixes. Marking a distinctive departure from the more instrumental fare of their studio albums, these mix tapes reveal a lighthearted side of Ratatat’s typically airtight musical construction.
Buoyed by their early success, Ratatat have assimilated elements of their remixes into their own music with LP3, their third studio album. Combing the electronica and rock world for instruments and influence, LP3 is a buffet of laden melodies supported by twittering background noises and driven guitar beats.
Looking to take their music in a fresh direction, Stroud and Mast separated themselves from their Brooklyn roots, recording LP3 in a private studio in the Catskills. Obviously gaining confidence in their production abilities, Ratatat also managed to record their third album in just more than three weeks, without detracting from the quality of the music. And as a result of their work, each song possesses a distinct measure of polish and intricacy. Each song feels and sounds completely fresh, despite the fact that Ratatat have included many melodic references to their earlier work that aficionados will undoubtedly pick up on.
From the opening single “Shiller” — with its haunting chords penetrated by textured electronic noise and thrilling guitar riffs — the album opens in a realm of melodic extremes. The guitar-driven “Falcon Jab” redefines how Stroud’s guitar can blend with Mast’s synthesizer, creating a fast-paced steeplechase between the two sounds. It’s only when one digs deeper into the album — hearing the reggae hooks of “Flynn,” the symphonic “Múmtaz Khan” or the cartoon-themed “Gipsy Threat” — does one realize just how diverse this album really is.
Of course, all this means the most ridiculous and uninspired song is actually the best on the album. Sounding like background music to a Donkey Kong arcade remake, “Mirando” and its menacing music video are obtuse references to the pop-driven synth-rock that plagued the 80s. Yet, despite being bouncy, cruddy and completely unintelligible, you’ll never be able to get its clownish beat out of your head.
LP3 is easily the best Ratatat album to date. Immediately enjoyable for the indie and dance fans who have surely listened to it already, it can also be a bit jarring for newcomers who have yet to fully appreciate Ratatat’s style. If listened to completely, though, LP3’s eclectic re-imagining of Stroud and Mast’s electronic/rock sound is an undoubtedly complete album that has something to offer for almost anybody.
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