Since their eponymous debut, Ratatat have always yielded immensely thorough soundscapes without the succor of vocal chords. While they have supplanted the instrumentals for a good chunk of rap cuts, on a pair of grassroots collections, their loss-for-words has always been the foundation of their prestige. Nevertheless, that’s never stopped me from pondering, “how would X sound over this?”(X having, in my mind, equalled Clipse, Bat for Lashes, Karen O. etc).

However, as gregariously upbeat as their synth/guitar collisions are, I’ve always sensed a solitary aura emanating from their tunes. It’s an anti-social voice and one that if encouraged to dabble with vocals or other audio elements, would probably respond with a phlegmy and concise, “No. We work alone.”

The rapport between the timbres that comprise the catalogue of Ratatat is a tightly-knit and exclusive bond. Having had three albums and two grassroots remix collections to do so, on LP4 it should only seem logical that the guitars and synthesizers seem to know each other better than ever. Roaring together in collaboration, this dynamic is perhaps best manifested on “Bob Gandhi” where Evan Mast’s atmospheric beats set the table for Mike Stroud’s guitar to emerge and gracefully destroy all of the fine china. The galactic romp, “Drugs” is also indicative of the mutually-respectful relationship that glows between Ratatat’s string and digital instrumentation.
However, what’s really missing from LP4 is a cloud of unpredictability; On past Ratatat albums, prominent chunks of sound never hesitated to barge in upon one another. A track like “Grape Juice City” indeed showcases the duo’s tendency to prance upon unique wavelengths and make them their own but, a little extemporaneous head-butting between the sounds would keep Ratatat atop the sonic badlands they created.

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