Tag Archive: Frightened Rabbit


Swim

Album of the Week: Caribou – Swim

Swim

Those of you who have been following closely (and you do exist, I have proof!) may remember that for the last two years my Album of the Year has been won by mammal-related bands, namely Frightened Rabbit and Grizzly Bear.

So what chance of three-in-a-row? Well, Band of Horses have an album out next month, some bunch called Avi Buffalo are meant to be good, and maybe this year I’ll get my musical project Badger or Banana?* off the ground.

In the meantime don’t bet against Dan Snaith’s latest effort under the name of Caribou.

It’s a pity that, like those Rabbit and Bear-related bands there isn’t a catchy adjective to go with the band – but if there was, it would have to be ‘funky’.

This record makes me want to dance, something which has been witnessed on the nation’s dancefloors only marginally less than Canadian reindeer getting their groove on.

Hopefully you’ll have heard Odessa already. My beloved 6 Music have been playing it, and various websites, including this one, have made it available to download for free.

If you haven’t, it’s a gem, all aquatic beats and swooning vocals and track two (Sun) keeps the theme going nicely.

Kaili storms in on thundering synths before breaking down into something much woozier with some nifty percussion going on deep in the mix.

Swim has been talked up as a change of direction for Snaith, which to an extent is true, but there was signs on 2007′s Andorra that dancier elements could work well when mixed in with that album’s intelligent psychedelia, namely Sundialling and the closing Niobe.

It’s not all keyboards and breakbeats either. Found Out has some gentle guitar scattered over it and Bowls has more time changes than Battles covering Miles Davis, while still remaining dancefloor-friendly.

I don’t do dance/techno/electronica in a particularly big way, but every so often an act pops up to remind me that there’s more to life than guitars – Caribou are one of them.

*May not actually exist, ever.

All Creatures Will Make Merry

Album of the Week: Meursault – All Creatures Will Make Merry

I must confess to not being immediately taken with Meursault when I was passed a copy of their first album.

They sounded to me a little like American oddballs Xiu Xiu* – a band to admire, rather than to truly love.

Their mix of light beats, acoustic instruments and Neil Pennycook’s voice didn’t leave me desperate to investigate further, despite them already being mainstays of the local gigging circuit.

However, the guy who gave me the first album is a persistant sort and I was soon presented with last year’s EP Nothing Broke, a radically different proposition.

It was much more organic fare, with the greater emphasis on stringed instruments pushing it closer to the Scottish folk scene without necessarily being Fenced into that genre.

That, followed by a superb Frightened Rabbit support slot, left me intrigued as to what was coming next.

And what’s next is a remarkable album.

It maintains the beats’n'folk feel of previous work but has been puffed up by a bit of polish and some very, very strong songwriting.

If you’ve read this far without really having a scoobies who Meursault are (and it sadly seems that few outside Edinburgh do) then download or stream Weather, or maybe New Ruin, which does its best to wrestle that Caledonian A*ca*e F**e crown off a few other bands that have had that mantle thrust upon them.

Or why not the darting, urgent What You Don’t Have; the gentle but cutting Another; or Song for Martin Kipperberger, the euphoric sounds of which are undermined by some bleak lyrics.

I’ll stop before I name every song on the album – you get the idea. Put simply, All Creatures Will Make Merry is a beezer.

*A wee footnote… having also gotten back into Xiu Xiu lately, how stupid do I feel that I missed Meursault supporting them a few months back?? D’oh!!

Teed Off

An open letter to Geoff Ellis, boss-man of DF Concerts, promoters of T in the Park.

Dear Geoff,

Thanks for the terribly predictable T in the Park line-up announced last month with only the merest smattering of quality and originality among the commercial dross you’ve picked out.

It’s never bothered me before, as you’ve always managed to book plenty of bands that I, one of your more discerning regulars, appreciate.

Putting Broken Social Scene, Dirty Projectors and Four Tet in there left me optimistic that there would be more where that came from and I would have enough ‘fringe’ music to amuse me, along some of the better populist choices like Muse and Biffy.

So I was tingling with a little excitement when I heard there would be more bands announced last week.

And what do we get? Madness. Jamie T. Paloma Faith.

Oh dear.

Also in there were Delphic (a decent album, but hardly compulsive viewing) and Frank Turner (don’t mind him, but a few friends appreciate his music a lot more than I do). But overall it was still a massive let down.

So that’s 55 acts announced and I’ve counted 14 that I give a toss about with a meagre seven in the ‘must see’ category.

So what does Moany Music Snob of Musselburgh do now?

Simple. I’m voting with my feet.

Or more to the point, my wheels. It’s a nine or ten hour drive to Sussex, but after I finish this post I’ll be booking tickets to Latitude.

Latitude already has a great looking line-up. Aside from the homely, relaxed atmosphere that the festival is said to have, having the National, the xx and Grizzly Bear headline its second stage is an instant stamp of quality.

The Horrors are in there too and Charlotte Gainsbourg will lend the occasion a bit of Gallic class.

It’s the weekend after T so going to both is clearly not an option, both financially and for childcare – so our T tickets are now up for grabs.

This post was meant to be a general moan about the quality of the Balado line-up, under the premise that I would still be going. I’d scribbled down a few thoughts on who I’d like to see you book. The xx and Grizzly Bear were both on that list.

So were LCD Soundsystem and the Hold Steady, but I can’t see that they’ll be added now. With so many big acts now on the bill, it’ll be up and coming acts that’ll pad it out.

Not necessarily a bad thing, but a hell of a chance to take. A lot of folk go to festivals for the craic and the booze, and that’s undoubtedly a massive part of it, but for me it’s mostly about the music.

In the same way that I can barely tolerate being in a pub or club (Clubs! Ha! I remember them…) that’s playing terrible music, I don’t wish to find myself watching Kasabian in a field, hands stuffed in pockets sulking, because there’s nothing better on. And paying £180 for the ‘pleasure’.

James Murphy, Craig Finn and their respective bands almost certainly won’t be playing Latitude either, but the five acts named above give me the sense that it’ll be well worth the cash. There’ll be lots else happening too.

Latitude takes comedy seriously – Marcus Brigstocke and Kevin Bridges have already been announced. There’ll be talks on films and books, a bit of poetry and some theatre.

Now I’m not going to badge myself as a middle class twat at this point and say “I’m going to a festival for the poetry” as that would be a total lie and not what I’m about.

But, as an alternative to watching the latest sadsack Oasis wannabes playing to a bunch of pissed up neds spoiling for a fight, then Bret Easton Ellis doing a reading from one of his books will do nicely thanks.

And even if I did stick to the music, of only 10 bands announced, four fall into the aforementioned ‘must see’ category with Florence the only one that I’d go out of my way to avoid.

Of course, I’m taking a massive risk. It would just be typical that the second I get my confirmation email from Latitude, you’ll send out another press release announcing that Frightened Rabbit (who are surely a no-brainer), Fever Ray and Sigur Rós are to play T.

But fuck it. As much as I’ve enjoyed T since 1999, having been to Connect in ’08, I’ve found the idea of a smaller, more focused festival hugely appealing.

Am I getting old? Probably? Is T’s loss of appeal coinciding with my own music taste spiralling up my backside? Almost certainly. Am I categorically finished with T? Well, Geoff, I’ll never say never on that front. Who knows?

But at least Latitude will have more beards than Buckie and I’ll be more likely to trip over a buggy than a bam.

And as this is effectively ‘our holiday’ for the year, the road trip and scenic setting will make it more fun than tailgating a coach crawling up the M90 with some wee bellend in a football top baring his arse shouting “T in the fuckin’ Park big man!!!!” at us for the whole journey.

Yours sincerely,

“Evil” Stu

Musselburgh

Now…. does anyone want to buy a T in the Park ticket?

This…

…or this?

The Winter of Mixed Drinks

The path to fame and fortune is littered with the corpses of promising Scottish indie bands.

My Latest Novel left it too long between two – admittedly excellent – albums and the momentum they built up evaporated quicker than you could say ‘Caledonian Arcade Fire’.

Aberfeldy shed members at an alarming rate and the follow-up to 2004′s folk-pop classic Young Forever was something of a dud.

De Rosa called it a day before last year’s Prevention even had a time to register on the public’s radar, never mind nestle at the top of our ‘best of’ lists.

And Broken Records appear to have faltered after releasing a so-so debut album.

So what now for Frightened Rabbit, Selkirk’s finest and creators of my hands down favourite album of 2008, The Midnight Organ Fight?

With contemporaries the Phantom Band, Errors and the Twilight Sad probably a bit too left field to truly cross over, Scott Hutchison and co now seem to be Scotland’s great white hope.

Pre-release chatter for third album, The Winter of Mixed Drinks, was of a bigger sound, songs for stadiums and comparisons to Sn*w P*tr*l and C*ldpl*y.

So should we be worried?

Should we fuck. The Winter of Mixed Drinks is an absolute treasure.

Sure, these songs are better produced, but Frightened Rabbit have maintained a genuine sense of intimacy about the whole thing. The Midnight Organ Fight wasn’t without its singalong choruses either, it’s just that here, they really soar.

And Gary Lightbody and Chris Martin shouldn’t lose any sleep just yet. The comparisons are ill-founded, but I can imagine that playing venues the size of the Queen’s Hall (I had the pleasure of attending last summer’s landmark gig) will become the norm for Frightened Rabbit, as opposed to pokey, glorified pubs.

So, what’s on offer here? Why should you go out and buy The Winter of Mixed Drinks?

Each of its 10 ‘proper’ songs are blssed with beautiful melodies. Scott’s vocals are heartfelt and swoonsome. If, after 2 mins 45 seconds of the Loneliness and the Scream, you are not covered in goosebumps, you really ought to check your pulse.

Frightened Rabbit, BA Club, Fort William, Nov 27, 2009

Frightened Rabbit storm Fort William

Swim Until You Can’t See Land was a slowburning teaser but I can now acknowledge that it’s chorus is truly wonderful. And it’s not the only tune here with an aqueous theme. After Floating in the Forth saw Scott deciding against a watery grave at the end of Midnight Organ Fight, The Wrestle and FootShooter also evoke strong thoughts of large bodies of water.

Epic centrepiece Skip the Youth builds ominously before crashing to earth and then crackling into life once more with multi-layered melodies. By the time it climaxes, it has become a pounding, rhythmic beast of a song – and possible the best thing they’ve ever done.

Musically, there’s not a massive progression, but something has certainly been added to give them that bigger sound I’ve mentioned. Perhaps it is just better production, maybe it’s down to them now being a five-piece. But the guitars now chime louder, arrangements are tighter and the percussion veers from the delicate to the thunderous.

Anyone who’s been following my tweets over the last nine months will know that I’ve been droning on about Frightened Rabbit for ages. But now there’s no excuse not to be listening.

 

 

 

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