Pieces of the People We Love [PA]

Performer: The Rapture
Engineer: TJ Doherty; D. McNany
Producer: Paul Epworth; Ewan Pearson; Danger Mouse; Paul Epworth; Ewan Pearson; Danger Mouse
Distributor: Universal Distribution

Notes: Personnel: Luke Jenner (vocals, guitar); Gabriel Andruzzi (saxophone, keyboards, percussion); Vito Roccoforte (drums, percussion, programming); Cee-Lo Green (background vocals). Audio Mixers: Danger Mouse; Tony Maserati. Recording information: Eastcote Studios, London, England; Glenwood Place Studios, Burbank, CA; Run-Roc Studios, NY; Sear Sound, NY. While their debut, 2003's ECHOES, contained occasional flashes of brilliance, NYC indie-dance firebrands the Rapture tighten up their post-punk 'n' funk formula for their second album, PIECES OF THE PEOPLE WE LOVE. All the signature dynamism has returned: from Luke Jenner's Robert Smith-like wailing, to the slashing, angular guitars--it all comes careening like a disco train on a detour from Funkytown to Sheffield. By taking the propulsive, rhythmic drive of house and fusing it to the primal energy of punk, the Rapture make visceral and thrilling dance music for rock & roll's cool kids. Produced by the team of Paul Epworth and Ewan Pearson (eight tracks), as well as Danger Mouse (two tracks), Pieces of the People We Love is much different from Echoes in that it's no patchwork (i.e., like four Primal Scream albums condensed into one). Additionally, Luke Jenner's potentially deal-breaking vocal tics of old, especially the Robert Smith-with-a-finger-caught-in-an-electric-socket caterwaul, are kept in check, while bassist Matt Safer's appealingly insolent presence on vocals is ratcheted up to several lead turns. The uniformity of the album is at the expense of clear-cut standout tracks. There are no equivalents to "House of Jealous Lovers" or "I Need Your Love." Just the same, the low points are not as low. Neither Danger Mouse production, despite being two of the album's big selling points, is crucial to the makeup: "Pieces of the People We Love," a glammy rave-up, features some deeply buried background vocals from Cee-Lo, while "Calling Me" is a splattered mess. The Epworth and Pearson tracks, several of which explode with energy (whether fueled by joy or embitterment), are built on the kind of thick low end and non-congealing layers heard in Pearson's extensive remix work for Goldfrapp, Depeche Mode, and Closer Musik. At least two songs are about being in the Rapture. Even if Safer's being lighthearted or sarcastic in "Whoo! Alright Yeah...Uh Huh" -- "But is it lyrical genius or crap rock poetry?/I say the lineage runs Morrison, Patti Smith [spelt "Smyth" in the booklet, snicker snicker], then me," as well as a refrain that mocks their motionless concert attendees -- the sentiments are better off ignored. "The Sound," a kind of modern-day "Have a Cigar," also carries awkwardly antagonistic and jaded feelings. While few things are more dire than listening to a band complain about being in a band, these two songs also happen to contain some of the album's most thrilling moments, careening every which way with ballistic force. ~ Andy Kellman

Rolling Stone (p.82) - 4 stars out of 5 -- "[They] haven't surrendered their moody groove....They cut a good portion of PIECES with Danger Mouse, who juices up their funk." Rolling Stone (p.106) - Ranked #27 in Rolling Stone's "The Top 50 Albums Of 2006" -- "[T]he New York quartet sounds warmer, happier, stronger..." Spin (p.104) - 3.5 stars out of 5 -- "[T]heir follow-up finds a better balance, albeit one that teeters toward a straight party groove.' Spin (p.57) - Ranked #33 in Spin's "The 40 Best Albums of 2006" -- "[T]he Rapture's Luke Jenner and Matt Safer position themselves as this generation's key purveyors of a new brand of blue-eyed soul..." Entertainment Weekly (p.95) - "[The album] shows they're far from exhausting their supply of bass-heavy grooves. In fact, the Rapture are in higher spirits than ever..." -- Grade: B+ Uncut (p.123) - 3 stars out of 5 -- "[T]hey've relaxed into a groove....Singer Luke Jenner now croons rather than squawks..." CMJ (p.41) - "[With] some honestly funky basslines, skronking saxophones and confident, winding guitars." Mojo (Publisher) (p.104) - 4 stars out of 5 -- "The dubby, day-glo pop of 'Get Myself Into It' is the obvious stand-out..."

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