402:"White Electric": "It was the first song that we worked on for this album and I think that we were like so... trying to get into the mode of writing again that when we were first done with this track it was like 16–17 minutes long... we were like, 'Yeah, maybe for the first song on the album it should be a little shortened down' so that was like a constant work-in-progress because it was the first thing we worked on, but then all the way at the end of the process there was like a complete re-writing of it and I think that we felt that there was maybe a little bit of, we weren't flexing enough... whereas the album rocks, I don't think we were fixing the riffing rock enough, so by the end of the process we just wanted to get across a semi-metal type thing and it's also named after one of our favourite coffee shops in
385:"Dominican Fade": "It's named after a hair cut in the United States. It existed from a little jam that John and I had together that we kept working on in the rehearsal space, and it was like maybe it will be cool to have this little bride in between songs but then when we recorded it and he put his drums and all this extra percussion on... like he plays a, cast iron skillet. So then we were like, this song's a lot doper than we thought it was going to be and it's a really simple, almost like an EP-type song and that was really important to harness some of that energy from our EPs, our first recordings and Ian put some more percussive elements and keyboard parts that put the icing on the cake."
375:, Machines with Magnets, with the same engineers, and because we were under pressure to get the album done, we separated into three different rooms and would record our parts direct, through all of our effects and then we'd feed that into the live room and the engineers took on more of a production role to kind of find the sounds for us and re-amp stuff as we kept cranking out more material. Really Ian was like, 'Alright, I keep envisioning these '80s stockbrokers at the pinnacle of their success partying on a yacht' and he was like 'Yeah, this song's got to be all about success' and he kept pushing that visualization, so we decided to call it 'Wall Street'."
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pink blob, of nothing. I wanted to represent a solid document that would be the album, that is a controlled atmosphere and have something that is completely organic that you can't even control the way things are going to happen, and at the end of the day it was more evident that we couldn't control anything other than the way things were going to happen when it came to making this album. So the actual artwork was just this blob... I made this controlled square one that didn't look as good but the organic blob that just fell into place and then congealed and solidified, was the total proper way for us to go for the album."
382:, and we got to see him after the show and it was bizarre... like us just stood outside his dressing room and his manager was like 'Okay, you want to come in and meet Gary?' and we were like 'Yeah, that would be great', and we had a CD for him so we went in and he was like 'Hi, I'm Gary, pleased to meet you' and we were like 'Hi, nice to meet you' and he said 'Yeah, I've listened to your track, I like it a lot... it's really fucking weird' and we were like '...Gary Numan's telling us that we're weird' and it was like this is a moment I'm never going to forget. But he was awesome to work with and a total charm."
356:"Inchworm": "We were in the studio for the first half of the year and we had a setback when we lost a member, and we went home for a little bit but when we went home we made sure we weren't going to be complacent, so I recorded this. I set up and just played this one riff and just altering the source material of that same riff and just working with this loop, and this was like a two-hour jam with a dancey-type vibe. The key to it was to translate that as a band and
399:"Rolls Bayce": "I was running John's beats that he did through my guitar pedals, everything I was recording was within the BPM that fits within the song and I wrote a bass line to it and that's what that bass line is, that 'Rolls Bayce' and then Ian had this cool line that we called 'Ethiopian Ice Hockey' during the break, so it was just those things and we were like, 'If we can get away with writing a song out of this then it could be a good one.'"
353:"Futura": "There was this minimal thing that was going on there and there was this pacing that was like taking turns. I know a lot of Battles songs can be like a leap-frog process of just playing on top of each other and it creates this overall texture, but this song was really more about the entrances and it was almost like... a tide, for me, it has this semi-hip-hop tide which I really like about it."
396:"Toddler": "It was just like this little ditty that Ian did and we thought it might be the beginning of 'White Electric' but we thought it was just this little kiss of just space in the album, and would be nice to have placed strategically, and we didn't really have a name for it... yeah, we didn't have a title for it and I just thought 'Toddler' would be a really cute name for that track. "
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409:"Sundome": "It's named after a basketball league in Jordan. The whole beginning of it is very organic and the whole song is like trying to find its shape and then it starts to slowly evolve, but at the other end of the spectrum you have very experimental bizarre vocals as instrument incorporated into the track. And we felt that who better to do that than
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from Blonde
Redhead because she lives in New York and she has an amazing voice and great delivery and we've all been Blonde Redhead fans for years. She was awesome, she was like, 'This is part of your life document and I'm totally into helping you.' So she came up to the studio and rode up in the car
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The album cover is a photo of a sculpture constructed out of Great Stuff, a commercial foam insulator, by guitarist Dave
Konopka. Dave: "The artwork is a sculpture that I did, I'm even reluctant to say sculpture... it's a sculpture that I made during the making of the album and essentially it's a big
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from
Boredoms, and he was awesome... he just sent us this raw track and he was like, 'Do whatever you want to it.' And the vocals themselves were bizarre to us... because, we thought he was speaking Japanese, but he's just making up his own stuff and he's repeating stuff that he's making up which is
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left the band to pursue his solo career. The band then carried on as a trio and re-wrote the entire album within four months. Drummer John
Stanier told BBC Radio: "We were working on this record but nobody was happy with it. Even he wasn't happy with it, it just sounded terrible, it was really bad.
378:"My Machines": "The title was taken from the lyrics of Gary Numan. I remember John saying 'We should totally ask Gary Numan to sing on the album' which was a total shot in the dark because we didn't think there was any way of getting him to be on the album. We drove up to Boston and he was playing
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for the single. It includes the B-side "Black
Sundome" and an instrumental version of "Ice Cream". The second single released was for "My Machines", featuring Gary Numan, which came in digital and vinyl formats with an instrumental version of the song and an album outtake, "A.M. Gestalt".
338:"Africastle": "That song stuck out for us as a good opener because of the pacing of it and the way that everything just kicks in. It was a great way to open up the album after a four-year hiatus from our last recorded piece. It was definitely the ideal opener for the album."
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is excellently performed – the players are seasoned professionals, and with
Battles a going concern since 2002 there was never going to be any sloppiness on show. However, whether this set represents a significant step onwards from
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to guest as a vocalist on this particular track. He kind of matched the level of sexiness that the song required. There was kind of an underlying level of sexiness that the song had and he kind of brought that out a little bit
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does everything the fair-weather
Battles fan wants from them: it’s technically assured, tremendously structured, and you can dance to it. But the basic formulas remain much as they were almost a whole decade ago."
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Once he left, after the initial shock of 'what are we going to do', all of a sudden it’s like wait, no, now this song sounds awesome because there aren’t these ridiculous, terrible vocals on it now, to be honest."
273:, in both digital and 12" vinyl formats. The vinyl was limited to 3000 copies, and was released in three different "flavors," with "strawberry" (pink), "vanilla" (cream), and "chocolate" (brown) colored records.
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wrote that "There is no question that this is a technically adept, well realised and urgent recording, but what seems to be a lacking is the je ne sais quoi that made
Mirrored such a colossal debut album." At
749:, remarking on how adroitly the band overcame the departure of their former vocalist Tyondai Braxton, argued that "...above and beyond its considerable technical accomplishment, it's
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with us and worked like all day. I think she had a little bit of a cold but she worked so hard to bring it all together and work out the melody and she was awesome, she was great."
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stated that "there are dry, impenetrable patches, making Gloss Drop an album that ultimately impresses more than it charms." In a similar sentiment, Sam Walby from
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brought in all his bass lines and that song was a really successful under pressure-type song that I think is really important for the scope of the album."
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s immediate standouts", due to the trio's way of picking singers "that reflect a particular aspect of their sound that they've chosen to express". "
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is questionable. When tracks remain instrumental, attentions can wander, and arguably there’s nothing here with the immediacy of the vocal-free
721:, another aggregation website, gave it a score of 79 out of 100, indicating 'generally favourable reviews', based on 37 professional reviews.
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705:, which collates reviews of contemporary music albums, the album received an average score of 7.4 (based on 23 reviews) rated highest by
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was, it shows that the trio version of
Battles is lean, creative, and surprisingly adaptable", reviewer Heather Phares concludes.
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by various artists. A compilation featuring the 11 remixes (plus one not included, "Sundome") was released on 16 April 2012.
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Most of the album is instrumental, but vocals are provided by various guests performers, including electronic musician
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so hard to do, and I love what he came through for with that track... it just brought it to another level."
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may be more accomplished than the band's debut; even if it's not quite as much of a powerhouse as
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called it "a triumphant moment, an experimental outburst both ingenious and accessible".
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371:"Wall Street": "That song was one of Ian's babies we recorded in the same studio as
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s sense of playful optimism that augurs most auspiciously for this band's future."
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received generally positive reviews from most music critics upon its release. At
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said it was 'sublime', 'startling', 'visually emotive' and 'vividly audacious'.
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265:" was the first single to be released from the album on 23 May 2011
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1789:"Album Review: Battles - Glass Drop / Release / Releases / Drowned in Sound"
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of the title) 1 through 4, featuring remixes of all the songs on
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was completed from 2010 to 2011. Midway through the process,
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Amongst the more critical reviews, Dorain Lynsky from
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1106:"Warp / Records / Releases / Battles / Gloss Drop"
1185:"Warp / Records / Battles / Releases / Ice Cream"
277:-based directorial collective CANADA produced a
1815:"BBC - Music - Review of Battles - Gloss Drop"
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285:From February to April 2012, a series of four
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1358:"Battles 'Gloss Drop' track by track video"
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1211:"Ltd. Edition Ice Cream 12"s in 3 Flavors"
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1263:"A Visual History of Battles (The Band)"
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796:, Mike Diver opined that "Everything on
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1237:"Canada and Battles discover Ice Cream"
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1651:"Album Review: Battles – 'Gloss Drop'"
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1335:from the original on 11 December 2021.
1239:. Partizan. 9 May 2011. Archived from
813:should raise many a pulse, and opener
1500:"Album review: Battles, 'Gloss Drop'"
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1406:
728:, the tracks with guest singers "are
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7:
1414:"Reviews for Gloss Drop by Battles"
1322:Battles BBC radio interview 11/1/15
1165:. Under The Radar. 25 February 2011
764:" as the one that "really shines".
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2097:Albums produced by Seth Manchester
14:
1296:"Battles Gloss Drop part 2 video"
1072:Seth Manchester – producer, mixer
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333:Dave Konopka on the album's songs
1713:Anderson, Stacey (7 June 2011).
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388:"Sweetie & Shag": "We asked
18:2011 studio album by Battles
1649:Pattison, Louis (1 June 2011).
1623:"Battles/Archie Bronson Outfit"
1562:Lynskey, Dorian (2 June 2011).
1386:"Gloss Drop by Battles reviews"
1163:"Battles Announce "Gloss Drop""
1715:"Battles, 'Gloss Drop' (Warp)"
1564:"Battles: Gloss Drop – review"
1531:Anderson, Kyle (8 June 2011).
1187:. Warp Records. Archived from
1108:. Warp Records. Archived from
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1:
1682:Harvell, Jess (7 June 2011).
1533:"Gloss Drop review – Battles"
1467:Herzog, Kenny (7 June 2011).
1069:Keith Souza – producer, mixer
1590:Keane, Brian (3 June 2011).
1213:. Bttls.com. Archived from
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2092:Warp (record label) albums
1844:Warp Records' Battles page
1084:Lesley Unruh – photography
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1839:Official Battles website
404:Providence, Rhode Island
289:EPs were issued, titled
212:Released: 15 August 2011
1775:"Clash Magazine review"
1017:– bass, guitar, effects
74:Pawtucket, Rhode Island
1443:"Gloss Drop – Battles"
1087:Warp Music – publisher
1075:Ryan Smith – mastering
380:The Pleasure Principle
71:Machines with Magnets,
2087:Battles (band) albums
1684:"Battles: Gloss Drop"
1469:"Battles: Gloss Drop"
1133:"Battles: Gloss Drop"
983:"Sundome" (featuring
332:
203:Released: 23 May 2011
54:6 June 2011
1538:Entertainment Weekly
558:Entertainment Weekly
424:Professional ratings
1849:5 July 2011 at the
1747:"The Skinny review"
1191:on 25 November 2011
1029:– guitar, keyboards
425:
1795:on 22 October 2019
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1619:Christgau, Robert
1441:Phares, Heather.
1243:on 16 August 2011
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1777:. 3 June 2011.
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1727:on 18 May 2011
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811:White Electric
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651:Expert Witness
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256:Blonde Redhead
247:in June 2011.
243:, released on
231:is the second
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1474:The A.V. Club
1470:
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1271:. April 2016.
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1051:Yamantaka Eye
1049:
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1037:
1034:
1033:Matias Aguayo
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986:
985:Yamantaka Eye
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961:"Rolls Bayce"
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898:"Wall Street"
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863:Matias Aguayo
861:" (featuring
860:
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828:
822:Track listing
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724:According to
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513:The A.V. Club
510:
509:
479:
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465:
462:Review scores
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411:Yamantaka Eye
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347:Matias Aguayo
345:": "We asked
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209:"My Machines"
206:
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68:
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53:
49:
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40:
36:
32:
27:
22:
16:
2019:
2012:
2006:Compilations
1994:
1987:
1980:
1973:
1955:
1948:
1942:
1941:
1934:
1914:Dave Konopka
1906:Ian Williams
1904:
1899:John Stanier
1897:
1818:. Retrieved
1809:
1797:. Retrieved
1793:the original
1783:
1769:
1761:"BBC review"
1755:
1741:
1729:. Retrieved
1725:the original
1718:
1693:. Retrieved
1687:
1677:
1665:. Retrieved
1661:the original
1654:
1644:
1632:. Retrieved
1626:
1613:
1601:. Retrieved
1595:
1585:
1573:. Retrieved
1569:The Guardian
1567:
1542:. Retrieved
1536:
1526:
1514:. Retrieved
1510:the original
1503:
1490:
1478:. Retrieved
1472:
1462:
1450:. Retrieved
1421:. Retrieved
1393:. Retrieved
1365:. Retrieved
1361:
1326:
1321:
1315:
1303:. Retrieved
1299:
1266:
1257:
1245:. Retrieved
1241:the original
1231:
1219:. Retrieved
1215:the original
1205:
1193:. Retrieved
1189:the original
1179:
1167:. Retrieved
1157:
1145:. Retrieved
1141:the original
1126:
1114:. Retrieved
1110:the original
1100:
1079:Dave Konopka
1027:Ian Williams
1021:John Stanier
1015:Dave Konopka
846:"Africastle"
814:
810:
806:
802:
797:
786:
782:The Guardian
780:
778:
771:
765:
750:
744:
742:
737:
733:
729:
723:
712:
706:
698:
697:
685:
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661:
644:
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570:The Guardian
568:
556:
523:
511:
379:
372:
321:
319:
310:
300:
290:
284:
260:
249:
245:Warp Records
235:by American
233:studio album
227:
226:
225:
184:
161:
153:
152:
143:
39:Studio album
15:
2082:2011 albums
1950:La Di Da Di
1137:BBC 6 Music
1045:Kazu Makino
937:Kazu Makino
717:magazines.
390:Kazu Makino
360:added that
185:Gloss Drop
2076:Categories
2021:Dross Glop
1943:Gloss Drop
1820:22 October
1799:22 October
1418:Metacritic
1092:References
1066:– producer
1058:Production
1039:Gary Numan
911:Gary Numan
887:"Inchworm"
815:Africastle
798:Gloss Drop
751:Gloss Drop
746:The Skinny
734:Gloss Drop
730:Gloss Drop
719:Metacritic
699:Gloss Drop
453:Metacritic
322:Gloss Drop
301:Gloss Drop
297:spoonerism
292:Dross Glop
269:2011-05-23
252:Gary Numan
228:Gloss Drop
163:Dross Glop
154:Gloss Drop
134:chronology
58:2011-06-06
24:Gloss Drop
2060:The Yabba
2053:Ice Cream
2014:EP C/B EP
1689:Pitchfork
1628:MSN Music
1592:"Battles"
1496:Kot, Greg
1395:1 January
1268:Pitchfork
1009:Personnel
950:"Toddler"
859:Ice Cream
794:BBC Music
762:Ice Cream
758:BBC Music
675:Pitchfork
646:MSN Music
419:Reception
364:beat and
362:reggaeton
343:Ice Cream
287:12" vinyl
275:Barcelona
263:Ice Cream
198:Ice Cream
94:math rock
1936:Mirrored
1847:Archived
1447:AllMusic
1333:Archived
1053:– vocals
1047:– vocals
1041:– vocals
1035:– vocals
876:"Futura"
803:Mirrored
738:Mirrored
726:AllMusic
476:AllMusic
373:Mirrored
69:2010–11,
66:Recorded
51:Released
41: by
2031:Singles
1887:Battles
1367:12 July
1328:YouTube
1305:12 July
1064:Battles
1023:– drums
307:Artwork
267: (
241:Battles
181:Singles
167:(2012)
158:(2011)
149:(2007)
132:Battles
56: (
44:Battles
1996:Tonto+
1928:Albums
1247:31 May
1221:31 May
1195:31 May
1169:31 May
1147:30 May
1116:31 May
838:Length
680:7.4/10
470:Rating
467:Source
457:79/100
447:7.4/10
437:Rating
434:Source
350:more."
145:Tonto+
103:Length
2046:Tonto
2039:Atlas
1731:4 May
1695:4 May
1667:4 May
1634:4 May
1603:4 May
1575:4 May
1544:4 May
1516:4 May
1480:4 May
1452:4 May
1423:4 May
835:Title
773:Clash
754:'
714:Clash
279:video
239:band
183:from
120:Label
81:Genre
1982:B EP
1975:EP C
1822:2019
1801:2019
1733:2019
1720:Spin
1697:2019
1669:2019
1636:2019
1605:2019
1577:2019
1546:2019
1518:2019
1482:2019
1454:2019
1425:2019
1397:2011
1369:2011
1307:2011
1249:2011
1223:2011
1197:2011
1171:2011
1149:2011
1118:2011
1001:5:15
990:7:47
975:6:14
964:2:06
953:1:11
942:3:50
927:1:48
916:3:55
901:5:25
890:4:52
879:6:17
868:4:37
849:5:45
807:Tras
767:Spin
711:and
708:Spin
692:9/10
687:Spin
668:8/10
358:John
254:and
125:Warp
1989:EPC
1967:EPs
1656:NME
1362:NME
1300:NME
995:13.
980:12.
969:11.
958:10.
831:No.
663:NME
366:Ian
295:(a
2078::
1717:.
1705:^
1686:.
1653:.
1625:.
1594:.
1566:.
1554:^
1535:.
1502:.
1471:.
1445:.
1433:^
1416:.
1405:^
1388:.
1377:^
1360:.
1341:^
1331:.
1325:.
1298:.
1277:^
1265:.
1135:.
947:9.
932:8.
921:7.
906:6.
895:5.
884:4.
873:3.
854:2.
843:1.
656:A−
563:B+
406:."
112:50
108:53
2062:"
2058:"
2055:"
2051:"
2048:"
2044:"
2041:"
2037:"
1879:e
1872:t
1865:v
1824:.
1803:.
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1225:.
1199:.
1173:.
1151:.
1120:.
987:)
939:)
913:)
865:)
857:"
653:)
649:(
518:B
341:"
271:)
261:"
200:"
196:"
110::
60:)
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