New York-based super group Battles is finally releasing their long awaited third full length LP, La Di Da Di.
New York-based super group Battles is finally releasing their long awaited third full length LP, La Di Da Di.
La Di Da Di is the follow up to 2011’s sensational Gloss Drop featuring vocal features from Gary Newman to Kazu Makino. And of course that insane video for “Ice Cream.” The difference on La Di Da Di is that Battles has decided to do away with the vocals altogether, but as any Battles fan knows, it’s never been about the vocals.
Battles has always been known for their instrumental dexterity and conjuring up strange loops and effects into a groove. Everything Battles has done thus far has been very rhythmic, kinetic and visceral all while maintaining an odd playful innocence. Scott Dransfield over at Under the Radar writes, “It’s always refreshing when Battles pop up, because they approach experimentation and abstraction with an attitude and gusto rare in the genre.”
Battles’ La Di Da Di is a land of technicolored machinery and infectious loops.
Listening to La Di Da Di is a bit like taking a roller coaster tour of a factory that builds giant computers out of candy.
Each song starts with a small loop, or a little idea that runs down an assembly line. As the squawking machinery adds new gears, cooling gel, pointless flashing lights; new angled guitar riff are introduced, alarming high-pitched synths sound off, steam from the engines cool as cymbals come crashing down.
Absraction runs throughout La Di Da Di as wonky looped guitar rhythms chug along and drums drive each track with blistering speed. Eventually the loops and effects layer to form a giant wall of arpeggiated rhythm. The song “Dot Com” perfectly illustrates how Battles builds these huge sonic machines out of tiny looped effects.
And like a machine La Di Da Di does not stop. The album is relentless with its repetitive loops and increasing rhythmic complexity. Constant gearshifts make each song seem like it’s going faster and faster until the sounds all blur together.
This is probably due to Battles members’ previous projects. Ian Williams (Don Caballero) brings his complex guitar riffs and samples to the project. You listen to Battles and wonder how they get these odd blips and bloops. Then you see Williams’ stage setup and it all makes sense. Synths, sample pads, laptops, the array of effects pedals and a heap of quarter inch cables.
Williams is contrasted by band mate Dave Konopka’s rather minimal set up of just a bass guitar and a handful of effects pedals. The two guitar wielders interplay between each other is another exciting aspect of Battles. Guitar rhythms will bounce back and forth between Konopka and Williams until they blend into the next warped loop. Williams says in an interview with Abelton “I’m interested in complicated things … John and I seem to align in that we both like something that hits you over the head…Dave often has this perspective that that can be obnoxious. He’s a designer by training with minimal asthetics.”
Then you get to John Stanier (Helmet) who pilots the machine. With all the insane sounds flying around La Di Da Di, Stanier’s drums are the grounding factor. His rhythms are very punchy, but steady. Even during the most dizzying moments of La Di Da Di Staniers drums are there to keep you oriented. His rhythms are the assembly line for Konopka and Williams to build their weird sonic creations. La Di Da Di becomes an engaging listen just because the band members complement each other so well.
If there are any comparisons between La Di Da Di and Battles previous work it’s that La Di Da Di is their most sonically dense work to date. Mirrored was more melodic and progressive; Gloss Drop was more accessible and pop-oriented. La Di Da Di will be Battle’s first record devoid of vocals but in its 50 minute runtime it is jam packed with musical ideas and some pretty epic tracks. Check out the stream on NPR or pick up the LP released on August 13th.
