Send "The Rapture " Ringtones to your Cell 
| Pitchfork |
 Looking back, the Rapture's legacy is as a galvanizing force for the underground, busting indie rock's standstill so mightily that we're now embarrassed to be the guy not dancing. They never seemed like a good bet to break dance music to the mainstream audiences, though, no matter how hard iTunes insists that the closing track on my copy of 2006's Pieces of the People We Love is titled "Best Buy Exclusive." Pan-pop conspiracy theorists might note that the Rapture reached fever-pitch in New York in 2003, or right around the time that Lady Gaga was enrolling at NYU, but if the Rapture hadn't stopped their own momentum, someone would have stopped it for them: likely labelmate/mentor/producer James Murphy, whose LCD Soundsystem offered the same funk-punk grooves but had better jokes (well, had jokes period) and a more explosive live presence, with pathos to boot. The Rapture were too nervy and out-of-sync to ascend the ranks.None of that changes the fact that the Rapture return, minus a surlyYoutube non-sensation, at a time when house and disco are more fashionable than at any time since the early 1980s. See Gaga, see Hercules and Love Affair, see couture Daft Punk Lego dolls, see the fact that Chris Brown knows a French guy. The Rapture, always medium opportunists, aren't interested in taking advantage of this. They've become what they've always threatened to become: an art-rock band with predilections for boogie and dippy lyrics. Grace sounds like the Rapture without retreading past successes, a nifty trick that underscores the band's hard-won identity....full text |
| Prettymuchamazing |
| New York dance-punk trio The Rapture haven’t exactly garnered their renown through prolific releases – in their decade-plus tenure churning out songs whose almost-painful, knife-sharp guitar riffs get right in your head and whittle off chunks of your brain, the band is only just releasing its third full-length album, In the Grace of Your Love. Whether it’ll be anathema or boon to you depends largely on what you like the Rapture for – the dance, or the punk? For better or worse, the general Rapture M.O., by which I mean that brutal guitar, Luke Jenner’s matching hyper-versatile wail, and throbbing clubby bass that sounds like what you’d probably hear walking down the street in Ibiza at 2 AM in 1980, has undergone a bit of a revamp in the long five years since 2006’s Pieces of the People We Love. That record’s hints of a lean toward the R&B-smooth (think that bubbly funk bassline from “Whoo! Alright – Yeah… Uh Huh”) have only percolated into the full-scale club jams that pack In the Grace of Your Love. If you were looking for another “Out of the Races and Onto the Tracks,” you’re out of luck, but if you’re looking for sweaty dance music, you’ve struck a rich vein of pure gold. The whole thing is the glittering soundtrack to your daydream vacation and/or post-elopement honeymoon to some hot and green tropical place where the clubs never close and the drinks are brightly-colored and bottomless and your love interest tanned and smiling and always wearing white. This is the record you somehow figure out a way to play on your pristine sailboat in the light breeze (“Sail Away,” which commands a U2-like mastery over its own wide-open space, might fit that moment best), and the record that plays when you are drunk and alone on the beach at night (“Come Back to Me” has a euro-disco pulse and echo and title-appropriate melancholy bewilderment courtesy Jenner’s singular wail), and the record that plays during all your love scenes (“In the Grace of Your Love” casts that grace as a physical place, dizzyingly sensual, confusing and dark), and the record that plays when you go to some neon carnival (“Roller Coaster,” duh)....full text |
| Louderthanwar |
| I’ve been pretty excited about the new release from NYC punk-funk outfit The Rapture for some time now, having ordered tickets for their Manchester gig months ago. And now here it is, thanks to the band streaming it in an unorthodox fashion the other night, in full, via the web. Part of DFA Records’ “White Out” sessions, the live stream basically consisted of a camera aimed at a record player as it blasted out “In The Grace of Your Love”, and featured some DFA minions dutifully flipping the LP at the necessary points as well as holding up track titles written on white paper. Unfortunately I missed the live stream but luckily it was uploaded to Vimeo and then shared around the internet for any other latecomers like myself. The album’s lead single, the aptly titled “How Deep is Your Love?”, gave the world some insight into what direction The Rapture were going to take when it was revealed a few months ago. The dancefloor was definitely the intention, as the song created a nightclub vibe in the same vein that James Murphy used to do with the lengthier LCD Soundsystem tracks. The song builds upon a simple repetitive drum clap and piano loop that grows like a monster, complimented by Luke Jenner’s heartfelt vocals, until it reaches its peak and the memorable saxophone freak-out during the final moments. Upon hearing it, I knew that this album was going to be different to their previous efforts. I absolutely raved over “Pieces of The People We Love” and still listen to it now as often as I did when it came out. That followed their 2nd album “Echoes”, which was equally as amazing. And so I felt some nerves, as I always do when I await an album from one of my most cherished bands (RHCP being the main culprit at this current moment). But I am happy to say that any anxiety I may have had over The Rapture’s 4th long player has bowed its head and left the building....full text |
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