The Weekly Jive

Ratatat

LP3

(Beggars Xl Recording)

Instrumental rockers come in so many different flavors the palate reels: the epic (Mogwai, EITS), the minimalist (Eluvium, Album Leaf), the exotic (Friends of Dean Martinez, Grails), the collagists (Boards of Canada, Fourtet), the classicists (Rachel’s, Talkdemonic), the heavyweights (Mono, Isis), and kitchen-sinkers like our subject du jour—Ratatat. The third full-length from Mike Stroud and Evan Mast tosses much of the post-rock menu into the blender again, though this time the duo lean more toward user-friendly organic dance elements and natural percussion for an all-around sunnier listen. Recorded in an upstate New York studio known for its vintage keyboard instruments, LP3 makes ample use of its surroundings, the guitars relegated mostly to support roles. Still, with Ratatat it’s all about the breadth: “Mi Viejo” transports you south of the border and to Ibiza; “Flynn” echoes heavy with dub; “Shempi” is deep-soul disco remixed through Fourtet’s laptop and Trans Am’s sense of the absurd, and “Dura” has got to be one of the few harpsichord/sampled beats mash-ups going. Ratatat’s range sure is impressive, but there’s little here to make you feel remotely at home or comfortable, something you’re reminded of with head-spinning frequency. (John Schacht)

Street Dogs

State of Grace

(Hellcat)

Talk about known quantities—every Street Dogs album contains a host of consistent elements: anthemic choruses wrapped around lyrics with distinct, oft-detailed storylines and a battalion of tough-rimmed guitar riffs that are only furthered by gutsy punk rock drum patterns. So, it comes as no slapping surprise that the Boston-bred quintet’s Hellcat debut contains much of the aforementioned. But State of Grace also tosses the listener a few subtle yet keen tangents from the norm, including greater dynamics and a general consonance that might’ve melted away from the band’s previous offerings. There’s a stronger sense of urgency that also blankets the album (“Mean Fist” is a perfect example), much of which could be attributed to vocalist Mike McColgan’s delivery (McColgan spent his earlier career in the Dropkick Murphys, a band with similar song structure). Topped with production by Ted Hutt (Bouncing Souls, Flogging Molly), this fourth full-length from the Dogs their best sounding material to date. Consistency is key to retaining one’s audience, yet too much of the same thing could become detrimental to a band’s career. Fortunately, State of Grace is just that—a graceful mix of expectation and surprise. (Waleed Rashidi)

Ron Sexsmith

Exit Strategy of the Soul

(Yep Roc)

Women and booze are a dangerous combination. The subjects always intersect in country cautionary tales and sleazy metal tunes. Now acclaimed Canadian troubadour Ron Sexsmith tackles them briefly on stellar tenth album Exit Strategy of the Soul. “Brandy Alexander,” co-written by Canuck sensation Feist—and inspired by a famous incident where a drunken John Lennon and Harry Nilsson were booted from the Troubadour—originally appeared on her CD, The Reminder. Set to a new buoyant arrangement, Sexsmith softly sings, “she always gets me into trouble” and “silently, I must confess the sin tastes better after juice and gin.” A melancholy singer/songwriter, he has been praised by McCartney and Costello, compared to Nick Drake for frequently somber subject matter, covered by Rod Stewart and has collaborated with Chris Martin. Here, Sexsmith handles all piano (a first) and drafts a Cuban horn section for a distinct 1970s AM radio vibe (not such a bad thing). Two elegant instrumentals frame the disc. War themed “Thoughts and Prayers” and “Impossible World” are both subtle and gorgeous, the folksy “Poor Helpless Dreams is optimistic and “This is How I Know,” spiritual-tinged. All told, it’s another classy soundtrack to a relaxing Sunday morning over coffee. (George A. Paul)