Ratatat
Classics
Remote Control


Ratatat's self-titled debut was one of the best albums of 2004. The strutting, buoyant groove of the two-piece was totally irresistible and an immensely pleasurable listen. Mike Stroud and Evan Mast got together based on a mutual love of The Rolling Stones, Timbaland, Jay-Z and Beethoven and the result was predictably unhinged and completely original.

If there's one problem with their follow-up, 'Classics', it's that it doesn't have the immediate feeling of innovation that came with the first album. There's plenty of new sounds, from sleigh bells to cello, but it's a step in the same direction, rather than a step sideways that the self-titled album represented.

Fortunately, the production and writing are far enough advanced over their previous effort to make this more than just a rehash, successful or not. While remaining instrumental, the songs have grown in complexity, with the duo's trademark guitar and keyboard-based melody and counter-melody chiming and weaving throughout Swisha and Tropicana. Meanwhile, the production on the guitar tones in particular is immensely impressive, with the range of sounds increased sevenfold and some gloriously resonant acoustic guitar on opener Montanita.

The drums seem more restrained and less upfront this time, but 'Classics' is still a swaggering album. If anything, Ratatat's classical influences make more of an appearance this time around - Nostrand's harpsichord is charming and proves an interesting counterpoint to the song's squealing guitar.

The album's first single, Wildcat, is probably the funkiest cut, with wah guitar and a great subtle bongo line interspersed with a roaring cat sample that somehow manages not to be trite or annoying. Tacobel Canon, on the other hand, is awash with reverb drenched organ and droning guitars and brings the album to a slow close. In the end, despite its similarities, 'Classics' proves a very worthy follow up - an album not afraid to admit its quality lineage and embrace it.

Alistair Wallis