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Lp4 Import

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Ratatat (Mike Stroud and Evan Mast) are pleased to announce the release of LP4 through XL Recordings on June 8, 2010. LP4 is the follow up to LP3 which was released to worldwide critical acclaim in July 2008.

The album, their fourth for XL, was conceived following the prolific LP3 recording sessions at Old Soul Studios, in rural upstate New York and much of the album was ultimately was ... Read more in Amazon's Ratatat Store

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Product details

  • Audio CD
  • Number of Discs: 1
  • Format: Import
  • Label: Import
  • ASIN: B003EV36NA
  • Other Editions: Audio CD  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.0 out of 5 stars  See all reviews (2 customer reviews)

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Most Helpful Customer Reviews

6 of 6 people found the following review helpful By The Wolf TOP 100 REVIEWERVINE VOICE on 9 Jun 2010
Format: Audio CD
Ratatat are an American duo comprising Evan Mast who plays synth,
bass and undertakes production duties and Mike Stroud, who plays
guitar. LP4 is (not surprisingly) their fourth album. It has a
nicely home-made ambience full of rickety but largely successful
musical ideas. Imagine a scaled down MSTRKRFT with a gentler sense
of humour and you're getting somewhere close.

Opening track 'Bilar' explodes out of the brooding introductory
chords like a broken clockwork toy bouncing off the skirting-boards.
A curiously disconcerting invention.
The sombre central dirge sounds as though it has epic intentions but
the chattering coda and German spoken-word sample segues directly
into the next track 'Drugs' (sporting some thrillingly cheesy guitar
licks!) before it has a chance to realise its erstwhile ambitions.

'Neckbrace' is a particularly fun example of what these
talented gentlemen are capable. The twitchy-scratchy beats
and deconstructed scatty bass voice set up a deliciously funky
background for the cut-and-paste guitar and synth incursions.

The fairground swish and swoop of the miniature 'We Can't
Be Stopped' generates an uneasy dream-like atmosphere.
(Picture a mad clown at the controls of a roller-coaster
in a 1950's American black and white B-movie!)

Likewise, 'Maholo' comes and goes in not much more than
two minutes. There's a slight taste and smell of Hawaii
at work in the duck-and-diving arrangement which pulls
the rug of certainty out from under our feet.
The ambiguous musical imagery is a great part of its charm.
Read more ›
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Format: Audio CD Verified Purchase
For those who like LP3, they will love LP4. LP4 captivates you and takes you to do a mental trip where you will vibrate and feel all the power of this album.
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Most Helpful Customer Reviews on (beta) 20 reviews
13 of 15 people found the following review helpful
Ratatat Doesn't Disappoint 8 Jun 2010
By Cameraon Swagger - Published on
While many of these songs were recorded during the same session that produced LP3, the two years of re-working the songs has produced a new sound that is noticeably different than LP3, while still keeping the distinct Ratatat flavor. The pure genius of multi-instrumentalist and producer Evan Mast and guitarist Mike Stroud shines with this new album, keeping the listener regardless of the times played. Overall Amazing Album!!
6 of 6 people found the following review helpful
The Best Techo-Organic Video Game Soundtrack You Never Heard 21 Nov 2010
By Jeff Hodges - Published on
Outside of the general categorization of electronica, "LP4" defies a more specific description. When I was exposed to "LP4", its organic, thematic qualities immediately caught my ear. Those familiar with Jean-Michel Jarre may recognize "LP4" as a more playful species of his work, while fans of Daft Punk will also find a lot to relate to. Ratatat takes electronica as seriously as Daft Punk did in the late 90s, but "LP4" is less expressly geared towards dance culture. It will undoubtedly get some heads bobbing, but Ratatat's atmosphere and aesthetic are also geared towards active listening. They mine the creative potential of electronic medium like Trevor Horn and the Art of Noise did in the 80s.

Unlike their elders, however, Ratatat enjoys a technological environment in which electronica has the increasing potential to sound less electronic. This grants a relatively small and underground group like Ratatat the capacity to create music of vast sonic complexity. What took Jarre a roomful of synthesizers and technicians in the 80s now can be done on a club stage with a more efficient and autonomous laptop. This organic side of Ratatat also emerges no small part due to guitarist Mike Stroud. His insistently melodic and sometimes epic style is playfully reminiscent of Queen's Brian May. His use of processing creates walls of guitar that certainly recall May's studio approach.

Upon listening to "LP4," the powerful rhythmic hooks of the track "Drugs" immediately struck me. The following track "Neckbrace" is a similarly driving pastiche of strings and indescribable melodic electro-vocals. These upbeat songs are counterbalanced by darker, more atmospheric pieces like "Bare Feast," which pushes harpsichord right up against Panjabi drums. Without delving too deeply into any sort of "authentic" styles, these tracks are still permeated with thematic qualities, creating the illusion of very clever and very original video game music.

THE LOWDOWN: Describing "LP4" in such a way is not meant as a negative criticism. Instead, consider what might happen if Brian May made a video game score with Daft Punk that was produced by Trevor Horn. Add a little multiethnic appropriation and you'd have something not unlike "LP4."
2 of 2 people found the following review helpful
Instrumental album worthy of repeat listens 27 Feb 2011
By PuroShaggy - Published on
Format: Audio CD
For an instrumental album, composed and performed by two guys with a synthesizer and a guitar (with a couple engaging sound bites to mix-up the landscape), LP4 is another impressive outing by Ratatat.
How to describe the music on this album? At times, it reminds me (in a good way)of one of those slick, 70's session player albums that Jeff Beck or Boz Scaggs put out. The sound is bright and poppy, the melodies are non-stop, and there is so much going on in each song- in this case, such a wide-variety of synthesized yet enjoyable sounds- that the lack of vocals never gets dull or repetitive. Every song sounds like Ratatat, yet hints at other genres and/or artists in respectful ways. "Neckbrace" sounds like one of the aforementioned '70s tracks, driven by some funk inspired bass. "We Can't Be Stopped" sounds like an Elton John ballad, one of the wonderfully overproduced ones from the '70s. "Bare Feast" dabbles in middle-eastern flavors and would not be out of place on an M.I.A. album, while "Bob Gandhi" can't decide if it belongs on a Talking Heads or TV On the Radio release. Song after song, Ratatat produce their own versions of musical ideas indulged more in depth by other artists without coming across as merely playing lip service.
This is not their best effort, either in terms of consistency of tracks or in terms of staking out new territory. It is, however, undeniably Ratatat, which is original enough to make this electro-pop, percussion driven, synthesizer celebrating release a worthy purchase.
3 of 4 people found the following review helpful
LP4 < LP3 1 Dec 2011
By Brady Fox - Published on
Ever since Ratatat's start in the New York suburbs in 1999, many critics find the Ratatat duo, Mike Stroud and Evan Mast, to be either brilliant or ignorant. I find them to be brilliant. Over a decade into their career, the duo has grown in popularity with their music being categorized into many genres, including hip-hop and electro-rock, with a hint of slide guitar. Despite a throwaway culture, Ratatat has managed to fill venues and sell albums with their funky, yet danceable tracks.
The duo's most recent album, LP4, started where LP3 (their previous album) left off. In fact, according to Stroud, LP4 was recorded simultaneously with LP3. With that being said, it comes as no shock that LP4 gives off the same vibe and feel with its sounds palette. Stroud and Mast evolve LP3 into a more bombastic sound with the introduction of more string sections and autoharps. LP4 includes many tribal drum kits to give the album a thicker, more complex texture as well as a more diverse experimental feel. The last noticeable difference between LP3 and LP4 is the addition of dynamic vocals being worked into the tracks. The duo last used the vocal techniques in their second album, Classic, and they were well received by fans.
Although LP4 contains a little more variety and sounds much more developed than previous albums, I have to say LP4 fails in comparison to LP3. LP4 sounds like a desperate attempt to add variety to LP3. In fact, if LP4 were a party, it would end at 11 whereas LP3 would continue into the wee hours of the morning. LP4 consists of 12 tracks with 1 bonus track. However, of those 12 tracks, I struggle to pick out six tracks that I would recommend to friends.
Ratatat kicks off the album with the track "Bilar;" a great choice in my opinion. With its drone sounding guitars and its dark hip-hop beat, "Bilar" gives the listener a feel for what is going on throughout the world today. The track is very hectic and constantly changing just like the world we live in. Ratatat definitely knew what they were doing when they put "Bilar" at the number one stop of LP4.
"Drugs" is another obscure track and contains a lot of Ratatat's signature guitar riffs, which fans have loved since their first album. The track starts off very somber and low key almost as if the track is meant for a solemn movie seen. However, 30 seconds into the track, Ratatat brings in their signature guitar riffs and beats from their hit song "Lux," both giving "Drugs" a disco/hip-hop feel.
"Mahalo" is a standout. It is without a doubt one of the more creative pieces Ratatat has produced. They take their signature riffs and beats and transform the track into a Hawaiian masterpiece. "Mahalo" is a very low-key track, allowing the listener to sit back and relax, wishing they were sitting on the beach with their feet in the sand. Ratatat completely blows my mind with their ability to produce "Mahalo."
Unfortunately, all parties have to come to an end, and as I mentioned earlier, LP4 ends at eleven. The early ending is mostly due to the track "Neckbrace." The track remains very smooth and funky throughout. However, the song's downfall comes early into the track when I begin to feel as if I am listening to a homeless street performer playing buckets and trash can lids. From this moment on, "Neckbrace" completely lost me and had no chance of recovering. In fact, the only reason I listened to "Neckbrace" all the way through was because I got caught up looking for spare change to donate to the performance.
In the end, LP4 receives a mediocre grade. The album contains a tremendous amount of variety and complexity, allowing the album to free itself from boredom. However, I fail to see myself eagerly opening up my Itunes to listen to LP4, and it is safe to say that LP3 avoided any chance of being knocked down a notch on my list.
2 of 3 people found the following review helpful
LP4 Punks Daft 29 Sep 2010
By bb - Published on
Format: Audio CD
The newest from Ratatat is as good as electronic music gets, with plenty of Stroud's crying, talking guitar and Mast's Atari-inspired hypnagogic dream beats. LP4 borders on the baroque, sometimes the exotic, with intricate arrangements and a wide range of textures. Their basic sound--you like it or you don't--sees permutation and recombination of prog-like complexity. Just like the violins (or is it Theremin?) in Schindler's List can trigger you to tear up, Ratatat's instrumentals are doses of emotion, moods manifested, keys to your amygdala. Their newest album varies from infinitely danceable hip-hop (as heard on their collaboration with Kud Cudi, "Pursuit of Happiness") to robot porn score, from club scene to sound-painted tropical island. Serene "Mahalo" is a highlight, as is harpsichorded "Alps." I can't pinpoint what feeling the ephemeral "Sunblocks" gives me, but it's between glorious and dire. Meanwhile, "Mandy" sounds like West Coast rap until Ratatat's tested classical touches and sound effects crop up. Much of the same from the New York-based duo, but always in unbounded reincarnation.
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