Battles
La Di Da Di

THE REVIEW

The year 2015 marks the return of Battles, four years after “Gloss Drop.” The group, now solidified as a trio after the departure of Tyondai Braxton, releases an album with a title and cover that are at least questionable.

What immediately stands out, pardon the expression, in the new work of the Warp label band is the absence of vocal inserts in the tracklist; in other words, “La Di Da Di” is entirely instrumental. The three thus leave behind the distorted and pitched vocalizations of Braxton present in “Mirrored,” as well as the guests of “Gloss Drop”.

Frenetic progressions, suffused with a groove on the edge of neurasthenic; kraut, funk, accelerated post-rock, metal, experimentation, electronics, and Afro rhythmicity combined together. Nothing new compared to what Battles had already accustomed us to in the past.

Let it be clear, the tracks all have an incredible drive, but lack the spark of genius (see “Atlas”) that could in the past be guaranteed by Tyondai's contribution. “La Di Da Di” is anything but a bad record, but it has the limitation of a certain monothematic composition and at the same time does not seem to head toward any precise coordinates.

Battles, however, deserve credit for offering a unique sound, unmatched in the market: a math rock as much robotic and edgy as, albeit atypically, danceable and dance-oriented, without any sort of onanism and without being overly cerebral. Another point in favor is the cohesion of the New York combo: John, Ian, and Dave demonstrate knowing each other by heart, as well as being more than seasoned musicians (thanks to a musical background with - respectively - Helmet, Don Caballero, and Lynx).

However, compared to the two previous albums, it can only represent a step back, more on the evolutionary level than the qualitative level. Battles retreat to the territory that suits them best, in their comfort zone, experimental but without experimenting.

“La Di Da Di” is Battles without the “pop” compromises of “Gloss Drop.” Battles in their current essence. There's no point in talking about one track or another; this is an album to be enjoyed from start to finish as if it were a suite. 50 minutes of adrenaline and hyperkinesis in odd times.