Digging into Classics: Ratatat’s Instrumental Odyssey on Vinyl

All the essentials on a mid-2000s indie-electronica staple—guitar squeals, chilled beats, and the not-so-smooth side of an old pressing

Sounds, Style, and the Sonic Sandwich

Classics stands out by delivering an all-instrumental experience—no vocals to anchor the tunes, just guitars and beats telling the story. The duo mixes snarling guitar harmonics with programmed drum hits, adding little twists like acoustic slide guitar, sleigh bells, and even some cello drones for that classical touch. It’s the kind of album that rewards careful listening: the themes weave in and out, demanding some attention. Casual listeners looking for easy singalongs might find this a bit of a head-scratcher.

The production is crisp, with tight beats and clear lows that don’t boom out of control. The highs snap nicely without feeling harsh. Keyboard lines float around smoothly, toggling between laid-back dub vibes and bouncy pop rhythms. But here’s the rub—the midrange is a bit thin. Guitars dominate the upper mids, bass sticks mostly to the bottom end, and the space in between feels a little too tidy, almost clinical. So, if the cozy fuzz and warmth of analog recordings are your jam, Classics could come off as a bit sterile.

Sound, Format, and Physical Quirks

This isn’t a heavyweight vinyl pressing; it clocks in at about eight ounces and is prone to some disc flex. It’s kind of delicate—lean it against something warm, and you might spot waves developing. Also, electrostatic charge builds when pulling the record out of the sleeve, so a quick brush-off is pretty much mandatory before each spin to dodge static pops and crackles.

Worse still, some copies show flat spots that cause skips, especially near the inner grooves. These flaws aren’t part of the music but physical damage that’ll pop out during playback. That wobble under pressure? Definitely a mood killer for those without a finely tuned turntable setup. So unless your gear has good anti-skate and tonearm control, the risk of skip-induced frustration is high. That said, snagging a used version can be a bargain if you don’t mind taking this gamble, but streaming might save you the headache altogether.

The No-Frills Packaging

Expect barebones. The sleeve is a simple taped jacket with a slick cross design in green on black—stylish but minimal. Inside, the paper-thin inner sleeve does no favors and is prone to creasing or tearing, which over time spits dust and crumbs onto the record surface (talk about a silent assassin for vinyl). No gatefold, no booklet, no fancy extras or downloads. Just artwork on front and back, and that’s it. For collectors who crave deluxe bells and whistles or protective inner sleeves, this one runs cold. The packaging feels like a budget-minded nod to essentials only—no fluff, no fun frills.

Diving into the Soundscape: Tracks in Three Acts

The first few tracks (1-3) punch hard: Wildcat opens with gritty, distorted guitars charging full throttle, followed by 1st of Tau backing off with mellow keys and subtle slides, and Portrait, which introduces a hint of chamber music sophistication with cello drones and snap delays.

Mid-album (tracks 4-7) calms down into minimalism and spacious soundscapes. Spain leans on sleigh bells and subtle sub-bass pockets, while Loud Pipes breaks the quiet with an arena-ready guitar roar. Cream on Chrome and Shiller keep the echo and tension simmering, rewarding patient listeners.

The final batch (8-11) drifts into cinematic territory with Goodman Gets Ill, a score-like mood piece, and Falcon Jab, which revs up a stomping, energetic groove. You’ve Changed throws in a bittersweet, romantic melody while Tacobel Canon tries a bold, effects-heavy spin on Pachelbel’s classic, but it stumbles with an abrupt end that feels unresolved—ambitious but falling short of a satisfying finale.

Label Roots and Collector Notes

Released by XL Recordings, a label that’s been championing alternative sounds since the late ’80s, Classics represents early-mid 2000s indie-electronica authenticity. Compared to thick modern reissues, this pressing is noticeably light and straightforward. It lacks the anti-static inner sleeves or heavyweight jackets that vinyl enthusiasts often expect today, reflecting indie budget constraints of its time.

If deluxe reissue features win your heart, this pressing will feel Spartan. But original first editions will appeal for their roots appeal—as long as you mentally add “handle with care” for those warp and static risks.

When and How to Listen

This album blossoms in focused listens—through decent bookshelf speakers or headphones in a calm room, where layers like cello breathing and slide guitar fizz can come through clearly. Toss it on at a casual backyard party and it can still nod heads, even without vocals setting the mood. However, noisy or outdoor setups might obscure the subtle details, and physical pressing quirks may turn a sunny day spin into a skip fest.

In short, Classics is a patchy gem. It’s a mix of metal-like harmonies, hip hop rhythms, ambient chamber touches, and minimalist keys—a unique blending that’s fascinating but not flawless. The sound can feel a bit clinical, the packaging disappointingly skimpy, and playback might be jeopardized by disc warps and static. If meticulous setup and patience are your thing, it rewards. Otherwise, no shame in waiting for a sturdier reissue or streaming the tunes without the physical hassle.