Ra Ra Riot

For such a young band, Ra Ra Riot have lost a lot. Their original frontman left in '06, then drummer and significant songwriter, John Ryan Pike drowned after a show in Providence last summer. Up until now they've only released one EP, but The Rhumb Line triumphantly advances their case from that of a hyped live band, or simply a "hype band," to a legitimate indie-rock contender. They waste no time, leading off with the best track, "Ghost Under Rocks," which, like about half the album, was co-written by Pike. A manic New Wave baseline and cello lay the foundation with breakneck drumming and ever-evolving violin, but unfussy vocalist Wes Miles takes command early and never lets up. The song is so fresh. A line like, "Here you are/You are breathing," actually reminds you of something rather than seeming like a mere throwaway.

The rest of the album follows suit, with the one caveat that its freshness is slightly compromised toward the end by the sameness of the compositions, tempos and instrumentation. Still every song is both catchy and rewarding of repeat listens. Bass lines chug along amiably, the drums (some of them programmed) always seem a little hyper and yet are minimal and measured in their way, serving every song just so. The violin and cello are continual revelations, providing equal parts affirmative lilt and mournful keen. A couple of songs tweak the winning formula to even greater rewards, especially the sleigh-bell fragile "Winter '05," and the almost out-of-control "Too Too Too Fast," cycling through as many changes as an early Fiery Furnaces' song, with Miles keeping right up, sounding like Phoenix's lead singer one minute, and Debbie Harry or Morrisey the next. The Rhumb Line’s depth is there to be sounded out, but Ra Ra Riot pay it—and their late bandmate—respect by making sure it's as much fun as it is moving or insightful.

—Nate Cunningham
09.02.08

Although Ra Ra Riot began generating a buzz in New York City at the same time as Vampire Weekend, their ascent from Manhattan's underground to a major-label's roster wasn't nearly as meteoric. Drummer John Pike died in June 2007, putting a temporary halt to Riot's momentum, and the band's long-awaited debut didn't receive the same rush-release treatment awarded to other hipster hitmakers. The Rhumb Line arrives eight months after Vampire Weekend's debut, a delay that actually serves the band well, as it distances them from the hype and resulting backlash that saturated Vampire Weekend's emergence. The bandmates pay homage to Pike in the liner notes (the album is dedicated to the late drummer, who also receives credit for his songwriting and lyric contributions), but the true tribute rests in Ra Ra Riot's music, which sounds far more polished and focused than 2007's self-titled EP. Perhaps most noticeable are the performances by cellist Alexandra Lawn and violinist Rebecca Zeller, both of whom capably alternate between short, focused bowstrokes and legato-style lines. Indie rock isn't a typical home for string sections, but Zeller and Lawn integrate themselves well during songs like "Can You Tell" and "Winter '05," two elegant numbers that revolve around the girls' contributions. Frontman Wes Miles sings those songs with sweet vibrato and a hint of an English accent, sounding like the sort of polite rock star you'd like to bring home to Mom, and guitarist Milo Bonacci deserves kudos for playing sparse, tasteful riffs that leave enough empty space for his bandmates' contributions. Whether they're channeling the '80s on "Too Too Too Fast," mixing indie pop songcraft with lyrics lifted from an e.e. cummings poem during "Dying Is Fine," or covering Kate Bush's "Suspended in Gaffa," Ra Ra Riot sound elated to have finally arrived at this point: the release of their debut, the payoff after a very tough year, and the proof that they're one of 2008's most promising newcomers. ~ Andrew Leahey, All Music Guide