It is now possible to travel around the world in 43 minutes. Musically speaking, of course.
Simply put on Ratatat’s latest album LP3 and off you go. The group’s third release visits several sounds from international genres in a tight concoction of organic beats, squealing guitar leads and fat synthesizers. As with the last two albums, LP3 is completely instrumental. Experimental and explorative, it is an evolution of the band’s electronic rock sound.
The album opens with “Shiller,” a frail, beatless melody brushed by harpsichord sweeps. Synth samples and background noise add density to the song before it leads into “Falcon Jab,” an energetic rehash of the classic Ratatat sound. Reversed synth swells bloom under funky chicken-scratch chords and wah-heavy licks-all riding atop live percussion rather than processed beats.
A stylistic departure occurs with “Mi Viejo,” which combines dreamy classical guitar lines and vibrant Indian hand percussion. The end result captures the exotic vibes straight from Madrid and Mumbai. The sultry “Mirando” features Nintendo-esque electronic garbles and double-tracked lead guitars (the latter a Ratatat trademark). At times, though, the guitars sound too processed and not quite organic. This artificial feeling exists in several songs, especially when listening through the whole album.
A short, quasi-dub interlude precedes “Bird-Priest.” The tom-driven jungle percussion incorporates several electronic samples (some which sound like tearing paper). “Shempi” follows up, injecting energy into the album. Digital swirls and arpeggios coo in the background while a beautiful organ riff shares the spotlight with sprawling guitar leads.
The album again shifts gears with the downbeat, watery “Imperials.” The faint sound of bubbles places you at the bottom of the ocean. By the time the drums fade out, you’re already floating to the top on a cascading keyboard melody and ambient noises. The next track, “Dura,” revisits the harpsichord in a mid-tempo piece that sounds out of place on the album. Although the album is free of filler tracks, the song order is questionable in some parts.
Perhaps the most surprising track, the buoyant “Brulée” is a soundtrack for summer afternoon thunderstorms. Samples of falling raindrops complement a bright, wavering organ and laid-back guitar riffs. Somehow Ratatat manages to introduce electronic elements into a reggae song without compromising its relaxed mood. An awkward transition occurs between the serenity of the outro and the bombastic start of “Mumtaz Khan.” The insistent beat immediately evokes images of Bollywood extravagance with its sexy groove and exotic instrumentation.
The short, outlandish “Gipsy Threat” follows, driven by an Eastern European keyboard riff. The fourteen-track album finishes with “Black Heroes,” a calm and wistful ballad. Simple and serene, the last track is an appropriate closer.
Featuring several international genres and an array of exotic touches, Ratatat’s LP3 is an engaging album. It is a refreshing take on the idea of guitar-driven electronica, as well as an exciting foray for the band. Musically, if you ever feel like going somewhere exotic, LP3 is your ticket.
