TOILET RATS GETS REMIXED WITH REIMAGINED ‘SYNTH REDUX VOL. 1’ LP
Look—don’t judge a book by its cover! Tommy Ratz’s (Tommy Rehbein) synthwave project may have a silly name, but the music is good, and that’s what matters. Toilet Rats released their full-length LP, ‘Toilet Rats IV,’ last year. Now, the record received a special remix treatment. This iteration, ‘Synth Redux Vol. 1,’ puts a new perspective on the original work. Truthfully, the remix breathes more life into it, as though this was Tommy’s intended vision all along. His previous work points in that direction; groups like Farewell Continental similarly borrowed analog synth sounds and even new wave elements in their most well-known songs. Therefore, it’s a logical next step for Ratz as he expands his experimental ear. It’s a little bit 80s, and a little bit post-modern. There’s something in it for everybody…so long as you love synth.
“Haunted Haus” has always been a perfect goth anthem. From the title to the pad synth layered over the bass track and drum machine, the track oozes with personality. It’s a great introduction to Ratz’s world, which is often colorful (and simultaneously shrouded in black lipstick and thick eyeliner). Toilet Rats tracks are never perfectly polished, but their grit adds to their charm. Everything aligns where it counts, so the imperfections are just added texture to the track. You needn’t reserve “Haunted Haus” for Halloween, either. For some of us, Halloween persists all year, much to the dismay of our families who don’t get it. Tragically, the ‘South Park’ episode that predominantly featured the goth kids was pretty spot on. I believe Henrietta would have loved “Haunted Haus.”
Of course, Ratz’s 80s influences are palpable, from The Ramones, to The Cure. However, some moments extend further, including some surprising Daft Punk vocoder elements. This remix record features a more chaotic, yet more authentic iteration of Ratz’s initial creative vision. The first version of the LP had promise and potential, but this version solidifies both. Where he was initially exploring potential creative avenues, now these roads are actualized with fresh pavement, layers of synths guiding the way. Perhaps my bias is reserved for anything coated in chaotic synthesizers, but Ratz does it well, achieving a fine balance of nostalgic comfort with modern innovation.
“Mall Goth” is still my favorite song from the record, but a new close contender is “Clap Back.” What was once a catchy tune now has a full life breathed into it, complete with stunning analog layers and a ridiculously catchy hook. The song has more edge in this version, embracing grit instead of aiming for a more polished approach. Still, the song feels coherent, a more refined iteration of its previous format. That’s the theme for ‘Synth Redux Vol 1.’ It’s rather difficult to come up with new criticism for a collection that was strong the first time I heard it. Regardless, the confidence Ratz seemingly has in this version stands tall; you can hear his new lease on life in each tune.
“Blackbox Recorder” may be the most nostalgia-coded in the record, though not just because of the device its title references. Rather, the specific synth layers and drum machine combo pair perfectly with echoing gang vocals. Ratz blends well with himself, with some of those Daft Punk vocoder elements peeking their way through. MIDI is not the most malleable, even today, but Ratz makes the most of it. Nothing feels like it’s cut off at weird points or too neatly looped in. Occasionally, MIDI can be clipped and “glitchy,” depending on how it’s mixed. Ratz’s expert mixing and mastering mitigates these risks, instead making MIDI moments hold their weight against the other recorded elements.
Sometimes, I forget I’m listening to something rather underground when I pick up a Toilet Rats record. Everything not only sounds like it was created by someone who knows what he’s doing, but also, it’s so goddamned catchy. Seriously, Ratz has an affinity for nostalgic ‘80s sounds, but he could (and should) write a pop hit. This guy has a real knack for an earworm hook, and they’re featured in every song from ‘Synth Redux Vol 1.’ It’s easy to bank on nostalgia bait, but Ratz isn’t doing that. Instead, he’s taking the best aspects of that musical era to create a stable world for his music to live in. That’s powerful for any artist; many crave to find their trademark sound, but Ratz has done so organically, and ‘Synth Redux Vol 1.’ is evidently the product of limitless experimentation.