Ratatat Kicks it From Their Heads @ the 'Sco

There were only two surefire ways this show could have gone down: gloriously, majestically, energetically as familiar beats and intertwined melodies caressed our welcoming eardrums, or with an unpleasant fire alarm due to the significant amounts of marijuana being consumed within the ‘Sco directly before Ratatat came on stage as impatient potheads looked around nervously, muttering “Where’s the weed at?” As the sold-out audience filtered out of the ‘Sco a little after 1 AM, saturated in sweat and thoroughly bruised, exhausted, and euphoric, I was thankful only that, wherever the weed was at, only a few bowls were consumed.

The highlights derived not only from the headlining Ratatat, but also from openers E*Rock and Panther, both of which performed as headliners would. E*Rock, one of many DJs out there going for the masked look, is prolific in many respects as the founder of Audio Dregs Records in Portland, OR as well as a visual artist and illustrator. Although the gritty sound of textured electronic layers and distortions may be immediately comparable to DJs such as Boys Noize or other masked DJs, the Bloody Beetroots, E*Rock’s usage of acoustic samples, toy instruments, and live percussion set him apart from other “bangers” out there. The overall effect of the black mask was one of complete emersion, allowing the audience to experience the live music as an entity in and of itself instead of as an aesthetic companion to recordings, which allowed for instantaneous energy, the culmination of which consisted in panoramic, neon explosions taking place in the background as E*Rock writhed and thrashed about on stage with a small, white device in each hand delivering intense deconstructions of sound and electronic mayhem. The usual milling around and gradual build of interest in the show certainly did not apply here – many loyal Ratatat fans found their spots during E*Rock’s set and danced their asses off until the very end.

Perhaps a tad more accessible to fans of both electronic and indie rock, Panther, also from Portland, took the stage by storm. Opening with the catchy tune, “Puerto Rican Jukebox,” Charlie Salas-Humara hit it with an infectious stage presence complete with a cutesy dance he calls “floor dancing” (he fancies himself the originator of said dance) and a slightly blemished singing voice which echoed with an undeniable charm around the ‘Sco. Using everything from guitars and drums to create a more traditional rock n’ roll sound to samplers and voice distortion, sleigh bells, and bongos to add the trademark Panter quirks, Salas-Humara was on top form. He even tipped his metaphysical hat to us during his set, calling the show the best he has had so far. Although the first song was perhaps the best of the set, the gusto of the audience kept steadily increasing as dreams of Ratatat shifted like sugar plums in our collective one-track mind.

It seemed like hours before Ratatat made their appearance on stage, but the audience certainly bemused themselves in the meantime, shouting different variations on the word “Ratatat” at various intervals (I heard “Rat Tits,” “Tatatar,” and “Rata-tata-tat” the most often, as well as the occasional “I’m going to Ratatat on you”). As soon as guitarist Mike Stroud and producer/synthesizer wizard Evan Mast meandered on stage with friend and big-haired touring accessory, Jacob Morris on keyboards, the crowd shared in a moment of frantic excitement, some people being knocked over even before any music started.

The set opened with a downtempo number from their new album, LP3, entitled “Brulee.” Despite the relaxed nature of the song and the delightful, twinkly piano samples, people were already being pushed to and fro and back again. Ratatat has been known for their live performances, which is mainly a product of cleverly designed set lists. Because there are sometimes a dozen or more parts occurring simultaneously in a given song, an entirely live performance would be practically impossible. Therefore, Ratatat sticks to formula, choosing three parts to focus the audience’s attention on, relying on samples for the rest of the work. The result is predictable, yes, but organized in a way where one cannot possibly feel a drop in energy. Opening with songs like “Brulee” and the next tune, “Mi Viejo,” Stroud and Mast captured our attention with live Latin percussion and Spanish-inspired minimalist melodies. Many eager fans had already lost their front-row status at this point, some people being pushed almost entirely on stage by the swelling masses wishing for a better look.

By the third song, and second single off of LP3, “Mirando,” chaos had ensued within the ‘Sco. This was perhaps the most interesting song to see performed live, as it is one of the more melodically complex tracks off of the new album. The band members themselves seemed more in-touch with their music during this and other newer tracks such as “Bird Priest.” Crowd favorites were undeniably “Lex” and “Wildcat” (which actually uses a sample of an actual wildcat roaring), although I couldn’t help but notice that, when I closed my eyes, I could have been just be listening to Classics on high volume in a room full of sweaty, dancing college students. Innately energetic as progressive songs, the fact that the band members seemed slightly bored or tired during these performances did little to diminish the overall effect. Jacob Morris, however, seemed to become more comfortable on stage as time went on, occasionally humping their stage crew or Mike Stroud during less active musical sections.

“I've been rapping for about seventeen years, okay? / I don't write my stuff anymore I just kick it from my head; / you know what I'm sayin’? / I can do that. / No disrespect, but that’s just how I am.” Thus opened what seemed to be the decisive crowd favorite, “Seventeen Years.” As the Baroque-inspired guitar riffs and powerful hip hop groove led into a single note jam, and finally to a chilled-out, simple beat accompanied by chorale-style harmonies, the energy finally subsided. Despite a few missed notes, this encore was a perfect sendoff for the most successful show the ‘Sco has seen lately. They can do that. No disrespect, but that’s just how it was.

Ratatat - "Mirando" (mp3)
Ratatat - "Seventeen Years" (mp3)