Send "The Rapture " Ringtones to your Cell 
| Avclub |
 Anyone who first heard The Rapture via its dance-rock crossover singles will be unsurprised that Tapes, the Brooklyn quartet's first officially released mix-CD (bootlegs of DJ sets have floated around for years) is more interesting as a time capsule of what hip urbanites were dancing to in bars during the mid-'00s than as a DJ mix, per se. That isn't a bad thing: These guys have excellent taste, and they construct an entertaining mélange on Tapes, moving from Ghostface Killah's action-fest "Daytona 500" to D.C. go-go giant Junkyard Band without a second thought, while Martin Circus' bubblegum-Kraftwerk "Disco Circus" goes head-to-head with Arcade Lover's "Fantasy Lines" with real grace. The Rapture has a good line on current happenings as well as the classics, throwing in recent club bangers like South African DJ Mujava's "Township Funk" and "Everybody's Got To Make A Living" by house producer Dances With White Girls (who's signed to a label The Rapture co-runs). The mix doesn't have the kind of sonic arc that implies a narrative, the way many great DJ mixes do—getting from A to B is less important here than checking out the scenery along the way. But The Rapture knows the scenic routes....full text |
| Drownedinsound |
| The latest group to compile a mix for the !K7 label is New York electro-scuzz combo, The Rapture; and an unusual compilation it is too. Initially thrilled to see The Undisputed Truth kick proceedings off, I was sorely disappointed that ‘Earthquake’ lasted a mere 32 seconds before being poorly cut into Ghostface Killa’s ‘Daytona 500’. Thankfully, the quality of mixing improves with (mostly) seamless beat matching and some deft cutting between the classic and contemporary. Building to the more straight-ahead house-disco grooves associated with the band, Tapes takes the listener on a trip from low-down Memphis R&B (The Bar-Kays’ Holy Ghost), hip-hop (Junkyard Band’s ‘The Word’) and electro (Northend’s Tee’s Happy) right up to current dance floor fillers. The earlier part of the mix relies heavily on funky basslines (as can be found on Arcade Lover’s ‘Fantasy Lines’) offering up an insight into the music that clearly defined an era of the band’s native New York. The inclusion of Don Armand’s vocal parody of ‘I’m an Indian too’ is an inspired trip into the chic of disco and acid house....full text |
| Dustedmagazine |
| I guess the wheels fell of the Rapture bandwagon around the time of Pieces Of People We Love, which I actually felt deserved more than the dismissive attention paid to it by a lot of old Rapture fans I’ve met. That’s the problem with making your definitive statements so early on, though – the Rapture are in the unenviable position of having defined the early noughties zeitgeist with “House Of Jealous Lovers” and “Out Of The Races And Onto The Tracks,” which means everything’s in deference to those prioritized moments, even if (secretly) a lot of people loved Morgan Geist’s “Jealous Lovers” mix more, or exorcised their Cure jones with “Olio” instead. The Rapture made those deft moves (post-punk to agit-funk to undie-disco to electro-pop to etc.) with an ease that showed up their detractors as humorless jerks and their peers as bandwagoneers. It made for great records, but the downside of all that effortless flirting is that Tapes is a prick-tease of a mix; it’s great fun, but it’s all boundless energy without centre. I mean, if I want to flick through someone’s record collection, I’ll visit their house, right? Or scroll through their iPod, or whatever. Tapes is subcultural savvy bumped to compact disc, a mix that’s been curated safe in the knowledge that relatively unlimited access has turned Western Millennials into jacks of all genres....full text |
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