That kind of thing happens from time to time, and it seemed appropriate. We’re working with different ideas and different approaches, so it wouldn’t have made sense to keep it in that series.Īs for Magnifique, a lot of what we do is very intuitive and it was a word that came around and stuck with us for awhile. They were recorded in close succession, so we wanted to make them similar. Why did you decide on Magnifique instead of continuing that streak?ĮM: Well the reason we did LP3 and LP4 is that those two are closely related.
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We got inspired by that and spent a lot of time figuring out how to make those kinds of sounds.ĪP: This is the first album in a while that hasn’t had the “LP Number” designation. There are some really amazing videos you can find online of those guys and it’s a really amazing skill level. Discovering that style of music was exciting. We discovered people like Alvino Rey and Buddy Merrill, a lot of really amazing slide players from the 50’s and 60’s who were playing slide in a way that wasn’t just a supporting role in country music but as the lead instrument. Just “holy shit, someone was really dealing with a lot of the same idea that we’re working with 20, 30 years earlier!” That was a huge discovery for us.ĪP: What drew you to using slide guitars on this album?ĮM: We’ve been into slide guitars for a long time but dove a little further into it working on this record. When I heard that Springwater record for the first time it I was kind of in shock. He was obviously really into the harmonized guitars which we work with quite a bit. We kept coming back to stuff and trying different approaches and versions, and we ended up editing quite a few songs off of the record that we originally thought would be on there.ĪP: I was really surprised you guys decided to cover a Springwater song (“I Will Return”) though it actually ended up being my favorite on the album! What about the original track made it feel like something you could adapt to the Ratatat sound?ĮM: I think there’s a clear connection there in terms of the palette you’re working with. We really wanted to make songs that would stand the test of time and that we’d feel good about. I think we were pretty hard on ourselves. There were a number of tracks that, well, maybe we didn’t work on consistently for too long, but started at one point and then continued to work on two years later. Did that extra time spent fleshing the album out cause any tracks to mutate significantly from what you were originally planning?Įvan Mast: Yeah, definitely. He told us about the making of the album, the band’s visual presentation and what’s in a title.Īllston Pudding: Magnifique had a longer gestation period than any of your previous albums. Ratatat are hitting the House of Blues tonight, their first time in Boston since 2010, and we caught up with Mast before the show.
A collection that rewards more and more with each listen, not to mention slots well into Ratatat’s bombastic live show, Magnifique certainly deserves its place in the band’s treasured discography. Though there are standout singles, including “CoC” and “Abrasive,” the record goes for a smooth, often playful sonic progression instead of banger after banger, making for a product much better consumed all at once than piecemeal. Focusing more on the duo’s defining harmonized guitars than the intricate production of their last two efforts, it is far more in the vein of their second album Classics than LP3 or LP4. That record, titled Magnifique, was met with a divisive reception among fans. They also rewarded fans with the release of comeback single “Cream on Chrome” and the announcement of their long-awaited fifth album.
That all changed last year as Ratatat burst back on the scene, booking major festival sets at Coachella and Governor’s Ball before announcing a worldwide tour. With only whispers of progress and the occasional show for encouragement, many fans were starting to worry that the band’s consistently stellar output had dried up. After dropping their excellent fourth album, hospital aptly named LP4, no rx in 2010 and touring heavily, the acclaimed electronic instrumental duo of multi-instrumentalists Evan Mast and Mike Stroud went mostly radio silent on a follow-up. The last few years were an uncertain time for fans of Ratatat.
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