I was so pleased with their performance!
They really are a one of a kind sound, and a refreshing reminder that the possibility for new, unique and talented rock musicians is still alive.
By Lauren Wise
By Anthony Sandoval
By New Times Staff
By Chris Parker
By Glenn BurnSilver
By Lauren Wise
By Jason P. Woodbury
By Chase Kamp
7117 E. 3rd Ave.
Scottsdale, AZ 85251
Region: Central Scottsdale
What's the most significant thing you've ever accomplished on your laptop? Paid off a credit card? Logged a seven-letter word on Scrabulous? Constructed your first-rate Evite? Hey, no judgments — that shit's great. It just doesn't have the staying power of Ratatat, the 2004 self-titled debut disc that guitarist Mike Stroud and keyboardist-producer Evan Mast ingeniously cobbled together on Stroud's old Mac PowerBook. Layered with slicing guitar riffs, hip-hop-style sequencing, and the Brooklyn duo's signature reverse-warped Mellotron overdubs, the album yielded tracks like "Seventeen Years" and "Germany to Germany" and loudly proclaimed Ratatat as one of indie rock's great instrumental treasures — an act admired by rave-minded sensualists and indie-rock elitists alike. Three albums later, with a high-profile Kid Cudi collaboration and Late Night with David Letterman appearance behind them, Stroud and Mast remain cross-genre darlings, even if their last two long-plays — titled, logically, LP3 (2008) and LP4 (2010) — lacked some of the raw infectiousness of Ratatat and their even-better encore, Classics (2006).
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