As is the case with all instruments, synthesizers demand moderation and proper place within a finished musical product. Such devices are hardly appropriate in a full-blown experimental framework, particularly one that lasts hardly 30 minutes. Syracuse-based Ra Ra Riot, however, ignores these practices on the indie rock band’s third studio album, Beta Love, bringing an unpolished, unnatural, and chaotic creation into the world.
From the opening track “Dance With Me,” frontman Wes Miles’s upper-octave indie pop sugar is swallowed by a cacophony of erratic sound effects. The lyrics, which struggle to make a statement in and of themselves, are joined by what appears to be a malfunctioning drum machine complete with awkward claps, inconsistent cymbals, and an unexpected ethereal solo comprised of beeps more akin to urban air pollution than an integrated section of music.
Offering no respite, even the title track falls victim to the unending synthesized menace. Although “Beta Love” does not engender as much of a haphazard feel, the soaring, high-pitched chorus and its aura of bells and whistles brings with it painful memories of the album’s first song.
Beta Love’s lowest point, however, comes at “What I Do For U,” a track weighing in at just 1:44. Awkward panning, unexpected variations in reverb and volume, and other assorted filters make the mere 104 seconds feel like an eternity.
An album made up entirely of jumbled recordings would be relegated to the ranks of helpless filth, never to see the insides of a Walkman or Spotify playlist again. Fortunately, Ra Ra Riot manages to include several redeeming tracks in the mix. “When I Dream,” “Is It Too Much,” and “That Much” all effectively balance moderate synthetic sounds with rock influences for well-structured, clean results. What sets these tracks apart from the rest of the album, and what makes them its saving grace, is the welcome use of soothing strings.
The success of string sections in place of the pervasive synths demonstrates the reason for the album’s failings: synthetic sounds merely attempt to compensate for the departure of Ra Ra Riot’s cellist, resulting in noise appearing in sections that otherwise would have been dominated by refreshing resonance. This weak substitute instead leaves much to be desired, particularly in the category of aesthetic appeal.
Thankfully, the album’s short length means that the listener is not dazed and confused for long. Synths certainly are advantageous in the appropriate time and a place, but Ra Ra Riot has found neither. Beta Love mercifully concludes with the appropriately titled “I Shut Off,” a sign-off that comes 20 minutes too late.
