Battles - Gloss Drop

John Stanier steals the show in that rarest of things: a superior second album.

In 2007 the debut record, Mirrors, from the New York City boys Battles, took to critics' hearts - earning pretty much universal praise and positions (86/100 on Metacritic; #105 on Pitchfork's top albums of the decade). This time around they're without singer/keyboarder/guitarist Tyondai Braxton (due to those pesky solo work commitments), adding pressure to an already sizeable task: improve upon the first. Not that it needs improvement. You know what I mean.

And from the very beginning there's a massive assault on the ears: 'Africastle' is a monster of heavy drums from John Stanier but the focal point of the track is really the strings-effects that chime and clash uneasily throughout, leaving me a touch bewildered, a touch in awe at what's about to happen. Around the fourth minute it suddenly caves in on itself for what can only be described as the soundtrack for an 80s film car chase with its groovy basslines. This then all disappears with the breezy cheerfulness of 'Ice Cream' which features little-known techno producer Matias Aguayo - who is pretty inaudible if only in terms of vocals, which doesn't really matter when you have a tune Vampire Weekend would kill themselves for.


Again the guitar trickery and experimentation takes all the attention in 'Futura', although a background organ does its best to steal the thunder. In particular, the slides towards the end of the fifth minute stand out - but this is really a track that will still offer surprises come the 10th and 20th listen. It takes a while for 'Inchworm' to really kick off though - the first two minutes are a little defunct when compared to the latter 3, where an almost reggae beat kicks in and gives a comparably less clashy, more rhythmic background for bells, strings and electronic effects to really thrive.

There's no segue into 'Wall Street' which rattles any cobwebs with what I might describe as a Californian pancake-and-syrup apocalypse if I were feeling a little bit silly. So Californian pancake-and-syrup-and-koala-bears apocalypse it is. The synths just before 3:30 are a clear example of how even the slightest addition to Battles' tracks can throw in a whole new dimension, distracting us from the at-first chaotic appearances. The one and only Gary Numan makes a guest appearance on 'My Machines' but it's really Stanier's drumming that deserves credit: Numan's typical robotic cries only really a diversion from the seriously raucous music. The explosive sections around the third minute mark (with organ backdrop only underlining the terror) are something to cherish.

A suitable island celebration is seen in 'Dominican Fade', where I'm sure I can hear kettle drums and clapping. It's a short but very sweet track. Blonde Redhead vocalist Kazu Makino makes an appearance in 'Sweetie & Shag', providing a comforting series of coos and breaths that accompany the somewhat subdued, almost pop instrumentation. There's then another very brief track, 'Toddler', which merely acts as a sweet little precursor to the somewhat shattering 'Rolls Bayce' - those lulled into a nice little safe haven will surely get a rude awakening with the opening piercer of a synth that makes a couple more appearances throughout. A chirpy pop tune is juxtaposed against this, making for one of the record's most unorthodox listening experiences.


A stomper of a drumbeat again overwhelms the cutesy 'White Electric' which fans of their liveshows had been treated to under the name 'SDICT': again a slightly reggae tune where all feelings of laidback bliss are gone to shit in the name of drums and reverie. The plucky tune gets the last say however, fizzling out charmingly. For the finale 'Sundome', Japanese vocalist, DJ and visual artist Yamantaka Eye is drafted in - although there is an instrumental version too on some editions - for some rather odd outbursts. At just under 8 minutes though you can expect for some exciting little detours and experimentation: notably the difference between the intro's whalesong-like pondering and the 5th minute's funky Japanese disco experience says a lot about Battles' potential.

Throughout the record the band never settle for the safe option - and that's quite staggering since there're no circumstances of risk, no momentum lost or opportunities missed. Gloss Drop is a fine example of playing it dangerous that, for me, far outshines their debut.

Rating: 9/10
Highlights: Sundome, Ice Cream, Futura, My Machines, Rolls Bayce
Avoid: n/a
Artwork Watch: A disaster for Chad Kreuger's hairdresser, or the worst candy floss you've ever tasted? The jury is out.