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Beach Fossils | What A Pleasure
CD Reviews
Ratatat | LP3
XL
By
ZETH LUNDY
|
July 8, 2008
RATATAT, LP3
" alt="photo of 'RATATAT, LP3'">
3.5
Stars
After two albums of Queen-worthy guitars sighing and heaving over beats that sound like handclaps caught in a vacuum cleaner, the Ratatat æsthetic should, by now, be exhausted.
Classics
perfected the instrumental glitch pop of the homonymous debut from Mike Stroud and Evan Mast, but it left little room for growth. On the deceptively titled
LP3
, however, Ratatat go outside their comfort zone, replacing a lot of the epic metal riffage with zither, tablas, harpsichord, and a host of assorted pianos and keyboards. The result is some kind of cosmic machine music, reflecting not just a stoner’s world of internalized minimalist headbanging but an entire universe of culture, texture, and possibility.
LP3
trips through Spanish flair (“Mi Viejo”), Indian groove (“Mirando”), and plenty of interstellar wake-and-bake (“Shiller” and “Imperials,” with its space-prog organ) without ever losing the essence of Ratatat’s plangent whiplash. The band sound prepared to go anywhere, as long as they’re headed away from the novelty bin.
Related
:
Ratatat
,
Ratatat | LP4
,
Field Music | Field Music (Measure)
,
More
Ratatat
The New York duo Ratatat pick up where Trans Am pulled over circa 2000, with instrumental songs that combine the laptop-pop prowess of Evan Mast with the rockist-guitar leanings of Mike Stroud.
Ratatat | LP4
LP4 sounds a whole lot like the Ratatat of yesteryear, but with global embellishments, non-sequitur vocal interludes, and sprawling hooks.
Field Music | Field Music (Measure)
It takes some serious balls to release a double album in an age when Peter Gabriel would rather go bald than wear a fox pelt on his head.
Untied States | Instant Everything, Constant Nothing
Atlanta’s Untied States have arguably the most un-Google-able name in contemporary rock.
The Unthanks | Here's the Tender Coming
Rachel and Becky Unthank appear to have stepped out of another time and place.
Those Darlins | Self-titled
If summer finally decides to arrive this year, it'll have a heckuva soundtrack waiting for it.
Shearwater
To fans of the Austin band, this is all par for the beautiful but eerie course.
Various Artists | Casual Victim Pile: Austin 2010
The notion that regional musical flavors exist independently in American cities is quickly becoming an archaic truism, seeing as how the world really is a stage these days, at least in the digital sense.
Iggy & The Stooges | Raw Power (Legacy Edition)
We can argue all you want about proto-this and seminal that, but when Raw Power is on the stereo, it’s hard to deny that it’s the greatest rock record ever.
The Major Labels
You can play Spot the Beatles throughout this one.
Review: Mark Olson and Gary Louris, Ready for the Flood (New West)
Some of us sat idly by while the Stooges, the Pixies, the Police, and the New Kids were busy plotting their improbable reunions, our arms crossed, feigning indifference.
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,
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,
Zeth Lundy
,
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02/17
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@ State Theatre
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| February 14, 2012
When it was released in 1997, Cotton Mather's sophomore album racked up glowing critical huzzahs across the pond (not to mention big-ups from Oasis), yet dudded here in the States.
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| February 07, 2012
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| January 17, 2012
Since we last heard from Future of the Left, Cardiff's greatest non-furry export lost founding member Kelson Mathias and gained two new ones.
ALEX CHILTON | FREE AGAIN: THE ''1970'' SESSIONS
| January 10, 2012
Post–Box Tops and pre-Big Star, Alex Chilton was an 18-year-old Memphis boy on his way to his dual identity: former #1 pop hitmaker, perpetual underground hero.
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