Electronic drumbeat lovers unite! Ratatat has a new disc for
you to sping with its sophomore album Classics. The Brooklyn duo’s
unique combination of guitars, experimental sounds, and taped beats is enough to
get the laziest and shyest of us off our asses and grooving—at least, with the
right amount of alcohol. Initially, the album gives the impression of being a
stylistically clear continuation of the band's earlier self-titled release, most
obviously, because it sounds similar to it. But being thatRatatat’s sound is definitely distinctive in the realm of indie
and electronica, this is not necessarily a bad thing. However, there doesn’t
seem to be as many memorable moments on Classics in comparison with its
debut, which is upsetting. For example, the unexpected French horn part on
“Germany to Germany” and the Bach-on-acid-sounding chord
progression from “El Pico” are indeed brilliant. There are many more.Of course, Classics is not without its pinnacles. “Montanita” begins
the album by swelling up out of nothing and firmly establishesRatatat’s trademark sound. Additionally, “Gettysburg” is a
fantastic piece. A couple things stick out about Ratatat: the
band is an excellent orchestrator, and it certainly knows how to create a sense
of musical climax. At many points on Classics, the music breaks
down to one or two parts and builds back up again, layer-by-layer, fueling the
textural crescendo. The fourth track, “Wildcat,” with its incessant roaring of
feral felines, funky bass line, and moody guitar parts, gives the surprising
sense of what it would be like to find a random lounge act in the midst of the
jungles of Africa—red lights, cocaine, and all—70s style. The acoustic guitar
introduction and part on “Swisha” is a pleasant change of pace from the rest of
the album. The peculiarly named final track, “Tacobel Canon,” must be
reminiscent of what the great Pachelbel may have written
instead of his best-known work had he been subjected to the heartburn inducing
slop of the beloved Mexican-American fast food chain.
To Ratatat’s credit, they have managed to sound quite unlike
anything else out there. When I saw the band on tour with Mouse on
Mars back in 2004, I had one of those mind-blowing experiences on par
with the first time I read Slaughterhouse Five or the first time I
heard OK Computer. As their music blared into my ears, giving me
constant goose bumps and back tingles, I kept thinking, “Who the hell is this
fucking band and why do I suck for not knowing them?” That was the most I’ve
ever danced at a show. And I hate dancing.
If anything, go see Ratatat live. Amazing show. In the
meantime, or if they’re not coming close to you, go pick up Classics.
It’s definitely worth multiple listenings. Put it on at your next dance party,
you won't be sorry.
-David Fisher