Ratatat

"Seventeen Years"

2008-12-03T23:38:58Z

Ratatat's first single "Seventeen Years" is a great example of their stylistic value. The abstract melody is developed by a polyphony of two guitars, synthesized chords, and digital drumbeats. It evokes an emotive feel in the listener, touching on different "areas" that make this piece unique and appealing. This is truly a favorite of mine, even after having heard it so many times.

]]> “I’ve been rappin’ for about seventeen years, ok? I don’t like my stuff anymore, I just kick it from my head, y’know what I’m sayin’? I can do that. No disrespect, but that’s how I am.�?
Using rapper Young Churf’s words of revelation to introduce their first single “Seventeen Years,�? Ratatat swings into the motion of this piece long before the spoken words are finished. A synthy mingling trembles in a minor key, flooding listening ears with unnerving anticipation. As the single note stretches out longer and longer, one desperately wonders – will it crescendo into a slow, melancholy saga or will the piece head toward a poetic haste of guitar work and lyrical vows? This song goes through multiple phases of extremities and covers a lot of ground during its life of four and a half minutes, winding up on an unexpected, yet suitable medium.
What ends this synthy tremor is the deep pang of a heavy bass drum followed by a strict beat that pounds a discernible cyclicity. The beat is then reinforced by dizzy, swooshing high-hats whose strikes come in regularly spaced pairs. The tempo establishes itself as a heavy, rapid motive that propels the song. Shortly after, the synthesizer reappears, stirring the beat with a dangling sound of sensation.
This formulaic episode comes to a close with the introduction of simple fragments of guitar that add yet another layer of complexity to the piece. A beauteous riff interrupts in a minor key, bringing about a conversation of disagreement between what go on to become the antagonist and protagonist of this story. The antagonist, a hushing drumbeat teaming with the fuzzy, low note of a synthesizer, is also aided with clashing cymbals on the offbeat. It butts into the spotlight obnoxiously, breaking up the circular melodies of the protagonist’s tone. At this point, an indiscernible attachment takes form as the two voices battle, intriguing the listener to keep on listening. While the two gleam in instrumentalism, yet another voice of a guitar juts in and takes over, and only the beeping synth rhythm is left in the background. The two separate guitars harmonize together in very close contact, signifying the better match of the protagonist with the new voice. The obsessively repetitive quality of high-strung, passionate rebuttals provides an ongoing climax that will hopefully reoccur later on as well. Sadly, it does not. They share the spotlight interchangeably while one goes off on a tangent of a solo ballad and the other keeps the melody. Continuing to flirt on top of the other polyrhythms, the aura ultimately coalesces in a powerful chorus.
The immensity of this harmonious moment is due to the way it evokes and arouses a listener’s spirits. The theatrical nature of the overlapping guitar vibrations is enhanced by the intensity and anxiety that are so prevalent in the tone. Constructive interference of simple notes plays a major role in the beautiful fusion of the two instrumental parts – the excited mood of the chorus gives the impression of a faster beat when in reality it stays on tempo. Poignant chords elude from the extremities of normalcy, creating sentiments never before associated with sound. The listener delves into the unknown and meanders, discovering new aspects of their inner selves. By becoming more acquainted with the inner being and mind, they become more aware of existence as a whole. Soul-awareness is induced, broadening the musical as well as living experience.
As the romantic duet swiftly ceases, the underlying beat still remains. A boppy reverberating guitar-strung note silences the two voices, descrescendoing into a new interlude. It feeds off a steady, clapping beat that grows in undertones as the measures progress. First, a thumping bass drum enters this almost sound-empty scene. A soft minor tone sets a faster rhythm, like a thumping heartbeat right after intense movement. The tune lingers for quite a while, teasing and leading the listener on about what exciting chapter will come next. Opportunities for the introduction of a new segment come and go, but the rhythm does not change. Two swaying notes trill back and forth, playing in a steady manner of shaky intermission. A core beat strikes in low throbs of bass guitar this time, accelerating the momentum. Then the swooshing high-hat and bass drum refocus the stance and bring it back to the original form of the previous interlude.
The segue into the new chapter is suave – keeping the clapping and drumming beats of the previous section, Ratatat takes away all other components and shifts the story in an entirely new direction. An alien sound far off in the distance appears, morphing the atmosphere into a gloom of blue shadows that are contradicted by the quick tempo of the beat. The moody obscurity creates a skeptic ambiance full of doubt, solitude, pity, hope, and anonymity. These somewhat contradictory elements provide recourse for the listener and allow for a spiritual interpretation that will suit just about anybody. “Seventeen Years�? is full of emotion and motive, and compels its audience to act on their wants and desires, because after all, the song is itself full of passion and yearning.
The slow decline of this hazy milieu fades into residue, but only when the beat stops is it clear that the ballad is almost over. Since the beat supplies the foundation that keeps the piece intact, its cessation leaves no other medium for the melody to thrive on. The mysteriously sad tune dwindles in flute-like elongations, trembling from highs to lows, and eventually disappears from existence altogether.
The essence that drives this piece forward is romanticism and the miseries it holds. Pining, moody passion is brought to life in bursts of vivid crescendos. Battling voices that weigh down and wrap up the melodies also act as forces working against the ardent protagonist. Poetic riffs dominate the song for short periods of time but are backed up by fixed, powerful beats. This balanced, in-and-out practice of unique sound effects and instrumentals averts monotony and keeps the listener cued in. For every high-pitched, heavy measure there is a slow, deep one that stabilizes the overall tenure of the song. But what’s more, it captures a listener’s full attention and draws them into the mindset of the melody, allowing them to sense the feelings that it so strongly conveys. As a result, the listener is able to develop an attachment to “Seventeen Years,�? as well as other songs by Ratatat, by associating personal meanings they create for themselves.
Ratatat’s role in providing meaning is big and small at the same time. Both members admit that most of their songs come from improvised séances in which they choose what sounds best to them. They care more about what the song’s melody is to them than how it complies with others. In other words, they target no particular audience, which is why their works attract such a wide range of listeners. Maybe this is what the phrase “I just kick it from my head�? implies – that the simplicity of sounding out the mind’s view yields much better results that intentionally trying to embed meaning. Fortunately, it did not take Ratatat seventeen years to figure this out.
Interpretation is key. With the absence of lyrics, “Seventeen Years�? is not limited to a single meaning or message – Ratatat constructs a world of endless possibilities that their listeners are free to roam. It is a story, a journey, and a short-lived memory. Whether it contains heartbreak, content satisfaction, or hyper-active anxiety, it is what it is: an intense ballad of perception.

A Multitude of Musical Genres Fuse in Ratatat's Work

2008-12-03T23:24:03Z

It is somewhat difficult to categorize Ratatat into one genre because they show traces of so many in their music. The two most prevalent ones, indie rock and electronica, combine with elements of hip-hop, psychedelica, and rock, and consequently, attract diverse audiences. I take a look at some influential artists of these genres, examine the qualities of their styles, and provide a brief overview of the history as well.

]]> When considering the roots of a heterogeneous genre such as indie-electronica, it is evident that it does not stem from one big tree. Its origins are much more complex than that, and therefore, harder to define. The fascinating composure of this style of music is a hybridized combination of the disco, funk, pop, and rock styles that have been around since the sixties. It began to swarm the underground scenes of New York, Chicago, and Detroit in the mid eighties while grunge and pop rock radiated through the mainstream. Although the heart of indie-electronica lies in Britain where most of its bands reside, its emergence in America has been somewhat frail (Allmusic Guide). Its existence is largely due to teenagers who perform sonic experiments on their computers and are essentially the artists in the field. The new millennium looks promising - indie-electronica has steadied as the grounds between rock and techno continue to be heavily explored, and are growing more popular.
In 2001 two amateurs Mike Stroud and Evan Mast, fresh out of college, met up in New York City to record a few songs. One of the products resulted in the song “Seventeen Years,�? which went on to become a precious single that attracted the recording label XL (Phares). Stroud was touring as a guitarist with Dashboard Confessional and Ben Kweller, but wrote his own material along the way. Meanwhile, Mast mixed beats on his laptop. When Stroud returned, they put together their work and compiled a debut album. Uniting under the name of Ratatat, the two have mixed beats ever since. Together Mast and Stroud innovate indie-electronica to this day, helping to carry it into the mainstream by touring with bands like Interpol, Franz Ferdinand, and The Killers (Laurence). Although Ratatat, 2004’s self-titled debut release won over a fair share of critics, it wasn’t until later that year when they released Ratatat Remixes Vol. 1 that a wider fan base originated (more on this later, however).
Stroud’s skills as a guitarist may not be phenomenal, but his careful pick of vibrant chords makes up for that. He combines poetic riffs that dominate a song for short periods of time and remain backed up by rhythmic, yet intense beats. Playing with a wide array of artists has given Stroud this independent outlook on composition, allowing him to employ virtually any style he is fond of. This feat of Ratatat is the source of their variety. Their influences range from Queen, White Flight, the Idle Race to the authentic drumming of African music. They draw in stylistic features of acid and moody psychedelic rock of the sixties, synthesized ambience of Pink Floyd of the seventies, and even heavier material of the eighties. The prevalence of history in their music is clear.
Furthermore, today’s myriad of indie rock subgenres fuse in Stroud’s guitar strains as well. Traces of poppy blues, melancholy one-noters, or sometimes screechy and ravenous descants can be heard. The melody-rich verses entail and represent a variety of indie-based themes of the eighties and nineties: angst, triumph, creativity, and of course, independence (Indie Music History). Ratatat possesses an ability to fluctuate the listener’s mood, creating an emotional instability that is synonymous to the way early indie bands felt about corporate recording companies. The creativity that spawned the whole indie movement was due to the freedom bands experienced from not having to comply with demands of the major record labels. Mast’s MacBook addresses these attributes by overlapping programmed beats in assortment with instrumentals and a keyboard.
The synthesizer is of course another main constituent of indie-electronica. This digital contribution to music ought to be credited to Robert Moog, the creator of the analog synthesizer. His role in the music world is significant – he paved the path to electronica, making the alien and trippy sounds representative of the genre possible (About Bob Moog). Moog revolutionized and enhanced sound in the sixties and his digitalized keyboards are still heavily used by musicians.
Ratatat’s composition style is based on improvisation and little on theory - the true indie way. Their less-is-more approach to intricately designed sounds is simple, but undergoes a lot of manipulation. They elaborate: “We use logic in a simple way… [we] don’t write anything beforehand. The recording process is a writing process�? (Everlasting Bass). This free-spirited attitude is what yields their broad musical spectrum. There are no norms they must comply with, influencing and even urging their followers to do the same. “It isn’t a calculated thing… we like different styles of music, and let whatever come out.�? Stroud even admits not being able to read music, which is not surprising because he has no need to.
The creative process is still somewhat structured, though. An underlying beat is crafted first, providing the new piece with a foundation. Next, they select organic instruments – xylophones, harpsichord, piano, acoustic guitar – and manipulate them. Oftentimes Stroud’s guitar work is played in reverse and layered with another set of harmonies. The product, imaginative melodies sans lyrics, is then open for interpretation to listeners. They are free to take it wherever they like. The driving force behind Ratatat’s music is meaning and sentiment, which listeners gladly soak up through the poignant melodies, regardless of what emotion is evoked: cheerful, melancholy, bittersweet, energetic, etc.
Giving listeners this freedom of interpretation has always been a trick of the artist, but Ratatat takes it to a new level. Explosions in the Sky could be described as their sister band that fully resides in the experimental post-rock category - a jam band with a similar, yet non-electric sound. The lack of lyrics gives the opportunity to focus fully on each voice, pitch, and intonation. Although they use very different mediums to create their music, both bands utilize very similar (if not the same) concepts as grounds for their work – soul awareness and interpretation. People love to express themselves through music, and when they have the opportunity to create their own meaning for it, they feel more important and love the artist even more. This connection between creator and listener establishes an intimacy like never before in music history. That isn’t to say that lyrics are bad and distracting; but in their absence, melody’s contours can be outlined with extra undertones, giving it a spell-binding potency. As a matter of fact, in this field there are more artists with lyrics than not, since language is such an appealing feat. Named Band of the Week by Earfarm, Ratatat’s sound was hailed as “symphonic movements the length of pop songs that utilize the electric guitar's brash melody in lieu of vocals�? (Band of the Week). Ratatat shows that words are not a must by embroidering their songs with harmonious knots that spice them up.
Indie-electronica’s sister genres include any music that features techno, alternative rock, digital drumbeats, and of course, rap’s poetic rhymes. Everything that stems from the traditional electronica genre is mixed in a close-knit field of ambient pop, dance, trip-hop, trance, glitch, and countless others that mend in any way the artist chooses. Trip-hop, for instance, originated in Britain via underground bands that countered popular hard-beat techno and wanted to explore its more mellow side. Allmusic Guide describes it as “downtempo, jazz-, funk-, and soul-inflicted experimental breakbeat�? electronica. Glitch became a widely-used term to call a style that teenagers created, deemed “digital glitches�? for their lack of knowledge of how to make ‘real’ music (Trip-Hop). When indie-electronica surfaced in the mid nineties, it was seldom heard of until the early 2000’s when bands like Ratatat began to tour the country. Plone, a British trio with a similar sound of trippy synth effects, formed in 1994 and toured with many comparable UK bands such as Pram and Broadcast, but never ventured across the Atlantic (Phares). This is what makes Ratatat’s relative success in the US a surprise; electronica has always been more of a British craze. Despite its prominence there, Ratatat does not cite any British influences, leading to the conclusion that indie-electronica in America progressed separately with little British inspiration.
Joining forces with many rappers also set off a wave of followers. With the appearance of Ratatat Remixes Vol. 1 and 2, Ratatat turned the heads of another group: African Americans. Rap and hip-hop have always been an urban trend, and being from New York, Ratatat seized that niche as well. The late nineties saw rap and hip-hop explode and surge into the mainstream with artists like Jay-Z, Nelly, Ja Rule, Lauryn Hill, Dr. Dre, Mary J. Blidge, TLC, (this list is literally endless), etc. Mainstream techno in the nineties and early 2000’s barely existed with the occasional play of Darude’s “Sandstorm�? in dance clubs. Remixes of pop and rock had always been around, but they were done by club DJ’s who were not deemed as ‘real’ artists. So when Ratatat gave a new twist to Kanye West, Missy Elliot, and Jay-Z, rap fans were instantly intrigued. Meanwhile, preppy crowds of the glitzy clubs in metropolitan areas also noticed the notion of indie-electronica. This method of channeling listeners from different angles proved to be an effective way to attract audiences as well as connect musicians. Instead of segregated, competing genres, indie-electronica suggests a cooperative approach to music – not as separately existing styles, but each genre as a mix of its kin. A potential fusion of fans promises another union on a social scale. As Mast and Stroud point out in an interview, “It’s weird who’s at our shows. It changes. Sometimes there are a lot of real jock-y guys up front, ball caps and big muscle-y dudes… At some shows there are like people dancing on tables… We played a lot of Vermont colleges and, yeah, they go crazy. But a lot of people just stand there too�? (Everlasting Bass). The variations in audience participation reflect on their crowds’ diverse style and music tastes, confirming Ratatat’s cross-genre appeal. Music has always been a large part of culture, style, and guide to life. When music of certain cultures blends to create a great product, the listening communities come together and mingle as well.
As Ratatat enhances music, indie-electronica enriches culture by blending together genres, and in turn, their diverse fans. Older generation fans of punk and disco can appreciate it as much as any modern hipster, even if they develop different meanings for the same melody. The relative unpopularity of Ratatat-type music may not necessarily be a bad thing – lack of restrictions that mainstream labels set lets them roam the endless musical universe of possibilities and go on to create even more impressive albums.

Under the Influence of Ratatat

2008-12-03T20:52:48Z

I was already a fan of Ratatat when I saw them perform at 1st Avenue (Minneapolis) in late September of 2008. However, seeing them live was hearing their music on a whole new level, and afterwards my interest in them increased tremendously. They created an electric aura that radiated to and mesmorized each member of the audience, giving them much more than they had expected to experience. These are observations of my account.

]]> I will always remember the first time I heard a Ratatat song, as it transformed my regular day into an extraordinaire. Their techno tunes, so rich with signature electric beats, instantly grip a listener and become impossible to forget about until they are heard again. Ratatat’s ample vocabulary of melodies forms from well-crafted, expressive patterns of a synthesizer, guitar, and electric drums. The ways in which they utilize them are so eloquent and passionate that a listener can never get quite enough. Ratatat’s success, and essentially existence, is due to the members’ incredible ability to evoke all sorts of emotions, all without the presence of lyrics. With a hint of indie flavor, their sound truly improves techno’s reputation, inviting a new listener to explore other bands in the field as well.
If Ratatat’s recordings are beyond this world, then seeing a live performance is like experiencing a new dimension. Catching onto this notion, I knew I had to seize the opportunity to attend their concert held at First Avenue on September 19th. The two unfortunate opening bands lined up before them, E*Rock and Panther, were all but forgotten the moment they stepped off stage – impatience swept over the audience anxious to see Ratatat. The people streaming the floor were literally colorful; men and women of various races greatly differed in the way they dressed, but not according to their race. No one was afraid to make a statement about their individuality. All in all, the soon-to-be mob was a collection of indie hipsters, high school punks, intoxicated twenty-year olds, and some in-betweens.
A chant soon emerged among the crowd, “Ra-ta-tat!�? Waiting out on the opening artists was somewhat unnerving seeing as they were barely tolerable, and the anticipation I felt made it difficult to enjoy another act. Had they performed without Ratatat, they may have received more attention. Although E*Rock happens to be the brother of a member of Ratatat, the gene to impress crowds did not carry on. Meanwhile, his act was a bit perplexing because he did very little other than dance around a lap-top, giving way to my speculation that the DJ-ing was pre-recorded. Panther’s performance raised even more questions – how did this duo make it to a techno concert? What were they trying to accomplish? The vocalist screamed nonsensical lyrics over prerecorded guitar riffs (there was no guitarist) to an accompanist drummer of respectable talent. Even though Panther lists Ratatat as an influence, I saw no obvious similarities. This punk was attempting to entertain the wrong crowd.
When the three young men of Ratatat finally strutted onstage, they appeared to be nothing more than a few grungy hipsters wearing v-neck t-shirts. Once the first chord was strummed, however, they instantly unified into a symphonic trio. The unfed hunger for what could only be described as orgasmic harmony was sated, provoking impulsive body movements (not necessarily to be classified as dance) in the concert-goers.
The accompanying rage which spawned from excitement immediately reached dangerous levels in the crowd. This viciousness immediately struck me as immensely brutal and nearly inhumane. Standing within twenty feet of the stage meant dooming oneself to be suffocated, to say the least. Fans in this vicinity unexpectedly transformed into barbarians who would stop at nothing to slide an inch closer to the stage. Discharging sweat oozed from every pore of their bodies as they jumped, danced, grinded, etc. The source of this energy - the music - radiated through the sardine-packed bodies, unable to handle their excited states. This scene looked spectacular to anyone located on the upper balcony and not bombarded by the violent effects of musical pleasure. Here was a less sweaty atmosphere filled with people who came to relax and simply sink it all in. I found myself able to relate to this niche a lot better. Meanwhile, heads bobbed in synchronization while hands swarmed above them on the floor below. The fact that everyone in that thick mass of individuals disregarded daily courtesies and lacked general consideration toward others testifies to Ratatat’s hypnotizing ability to place a listener completely inside their own mind, or possibly elsewhere as well.
It is a common misconception that the biggest of fans are always at the front during a concert. However, the ones who choose to enjoy the show from the balcony are no less faithful than the screaming fanatics down below. Ratatat followers come from different musical backgrounds, some of them more ‘chill’ than others. While there are plenty of hardcore electronica and techno listeners, plenty of others are indie-based. This is largely due to the fact that Ratatat’s music contains recurring themes from other genres of music. They keep programmed beats and electronic tones to a limit, leaving room for other instruments such as acoustic piano and percussion. However, it would be interesting to hear more organic sounds, perhaps a mandolin or a trombone? The extremes the melodies touch on (slow and melancholy vs. fast and ecstatic) even out to create a balance within the whole composition. Techno sometimes puts forth too much effort into one thing, resulting in an excess, calling to mind the saying that everything is best when kept in moderation. Ratatat’s exploitation of rap is proclaimed by two whole albums entitled Ratatat Remixes Vol. 1 and 2 that are dedicated to feeding rap the beats it really lacks. These faceted progressions obviously attract rap fans, who are in turn attracted to Ratatat’s other material.
Ratatat’s tendency to attract such a broad spectrum of listeners is due to the inevitable beauty of their melodies. Impulsive, grinding beats become infused with smooth guitar undertones that continuously trace and enforce the rhythm, keeping a listener interested despite the lack of lyrics. A song’s contour is always well-defined, structured and organized. It drives the listener to extreme emotions and urges, magnifies mood, and gives a sense of being in another state of mind.
This brings me to another notable point: a show with Ratatat needs no substance abuse. The power of any hallucinogen can easily be overridden by the band’s mesmerizing influence. Listeners are removed from day-to-day life and taken to a place of perfectly synthesized harmony, so intense and beautifully ornamented that it compels an audience to feel and listen to the needs of their body. Such a disconnected and bewitching frame of mind would only confuse an already intoxicated attendant and possibly result in a ghastly trip. What could best be described as A Wrinkle in Time-like experience is in itself an ambiguous portrayal of the world Ratatat creates. Time was forgotten, as was matter and the existence of most things in general. The show seemed to be one of those dreams that one receives during a night of deep sleep and wakes up what only feels like moments after having gone to bed. This dream was no fantasy, however. Everyone was devoted and ached for more, willing to worship, cheer, or anything else that would carry on this fantasy.
Each song was like a separate chapter of a story, or better yet, a new emotion the artists wished to evoke. It was their way of chronicling life and sharing it. Each member of the audience was free to interpret it in their own way and apply whatever they wanted to their accounts. “Loud Pipes�? segued from slow, light fragments to dense and forceful phrases of enthusiasm, pausing in between so the listener can catch back up. Compelling and rigid, it was at the same time smooth and alleviating, like an internal struggle of self-control. Another favorite, “Seventeen Years,�? was occupied by two separate ongoing melodies that harmonized in moments of spectacular bliss during the chorus, only to split up again. Its steady, enticing beat reminds us of the gratitude we feel when we are ecstatic (or maybe on ecstasy). “One�? featured trills played on the piano that never ceased to tease the ears. A ‘conversation’ between these trills and synthesized swells emerged from time to time, resonating and echoing with each side’s rebuttal. The climactic “Lex�? was an ongoing battle between crescendos that transitioned from impulsive tremors of anxiety to soothing bits of repose, eventually giving way to a conclusive medium.
With their inevitable talent, Ratatat’s live performance won over their strictest critics. Crowds love to see artists stray from recordings to exaggerate a specific part of a song, which is exactly what Ratatat did. Augmentation or a solo on an already highly acclaimed piece set off bursts of cheers. When eccentric, boppy music such as this is played live, encompassing one from all corners, the only thing left to do is indulge in oneself and dance the night away. But any form of dance will not do, for Ratatat forces a listener to dance like never before – theatrically, yet carefree – and therefore, experience a new state of being.
One side effect of the Ratatat experience is the onset of a post-partum longing and physical addiction to any and all of their music. Like a little kid pleading, “Do it again, do it again!�? the concert goer wishes to see Ratatat live another time, no matter the cost. Listening to them after a concert is hearing the music on a deeper level, understanding it better. However, there is nothing in particular to be understood. Through the process of being a Ratatat fan, multiple interpretations arise, and it is through these interpretations that meanings grow. Now, someone who has no fixation on the band may argue that all their songs sound the same. It is then clear that that someone has not yet attached meaning to the songs nor let the meanings come to them. Or, Ratatat is simply not meant for them.
The show flew by me faster than I could have fathomed. I have no recollection of its duration, simply the feeling of contentment and togetherness that encompassed me. For all I know, it could have lasted twenty minutes, but an estimate of one hour sounds more plausible. Without doubt one of the best concerts I have attended, it gave me a deeper insight and appreciation for music than before. Ratatat’s strong hold over me has permeated into other aspects of my life, giving me the extra inspiration and persistence when I need it. Which is more than I can ask of any band.