Posts Tagged ‘Frightened Rabbit’

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Undoubtedly the highlight on the “Tiny Changes” Frightened Rabbit tribute album—a record that was almost finished before lead singer Scott Hutchison’s tragic death and one that took on a completely different meaning by the time of its release about a year later—Julien Baker slows down the Midnight Organ Fight album opener, turning the upbeat rock song into something much more her own.

Beginning with the guitar atmospherics that dot the entirety of her own material, it proceeds to build to a huge crescendo, only to completely lose almost all the instrumentals for the final chorus. Where the original’s finale seems hopeful that maybe, just maybe, Hutchison’s ex will give him one more chance (“You should sit with me and we’ll start again / And you can tell me all about what you did today”),

Baker’s version knows the answer and you can hear it in her voice, distant and longing.

As part of the forthcoming Frightened Rabbit’s covers album Tiny Changes: A Celebration Of The Midnight Organ Fight, Manchester Orchestra, and Sarah Silverman & Katie Harkin have released covers of the Scottish band’s “My Backwards Walk.”

The first cover is from Sleater-Kinney touring member Harkin, with the help of comedian and actress Silverman. Silverman was a good friend of Frightened Rabbit’s frontman Scott Hutchison, who passed away in 2018 after the band went on a 10-year anniversary tour for the album. The duo’s cover is slow, filled with synths. and puts the melancholic and nostalgic lyrics of the song at the forefront. The duo sing, “I’m working on erasing you / Just don’t have the proper tools / I get hammered, forget that you exist / There’s no way I’m forgetting this.”

Similarly, The Atlanta-based indie-rock band Manchester Orchestra focus on the poignant lyrics, but instead give the song a fuller, more cinematic sound. The song opens with frontman Andy Hull softly singing as the backing music builds to the climactic breakdown of the track.

To celebrate the 10 year anniversary/birthday of The Midnight Organ Fight we wanted to avoid the usual approach of just repressing the vinyl or re-releasing the same record with different artwork or putting out demos that were never meant to be heard by anyone other than the band and maybe our parents. We came up with the idea of asking some pals to record their own interpretations of the songs on the album. It felt like a good way to celebrate everyone who had been a part of the last ten years of the band and we didn’t have to do any work ourselves! Every single person on Tiny Changes has been a part of our lives and Frightened Rabbit in a special way over the last ten years. We’ve shared studios, vans, bars, dressing rooms and probably even underwear with some of these people and that’s why this record is so special to us.

Scott was a vital part of bringing this album together and it’s something he was very excited about and worked hard to bring to life. He listened to and approved every track on there with us and he had already started preparing the artwork which you’ll see on there (if you buy it). This is a celebration of a record that connected thousands of people to Scott and connected thousands of people to each other and ten years on it is still managing to do it. Scott would probably have put in some joke here about when the album hits puberty and starts rebelling by smoking weed and getting things pierced. We’re not that funny so instead let’s just raise a glass, blow out the candles and make a wish.

Prior to the release of these “My Backwards Walk” covers, indie singer-songwriter Julien Baker and Scottish rockers Biffy Clyro released covers of “Modern Leper,” The Midnight Organ Fight’s opening track.

The compilation album arrives July 12th via Canvasback Music/Atlantic and will also feature covers by The National’s Aaron Dessner, CHVRCHES’ Lauren Mayberry, Josh Ritter, Death Cab for Cuties’ Benjamin Gibbard, The Hold Steady’s Craig Finn and many more. The album will not only commemorate the 10-year anniversary of Frightened Rabbit’s album, but also serve as a memoriam to Hutchison, who had helped envision the covers album before his death.

Accompanying the release of the album, Rough Trade will hold an event hosted by Talkhouse’s Josh Modell. The event will feature Finn and Grammy Award-winning producer Peter Katis. Katis was the producer for Frightened Rabbit’s original The Midnight Organ Fight.

Frightened Rabbit have announced the forthcoming release of “Tiny Changes: A Celebration Of The Midnight Organ Fight”, a re-imagining of their 2008 album, recorded last year by friends of the band to celebrate its 10th anniversary. Two lead singles, by Julien Baker and Scottish rock band Biffy Clyro’s renditions of the album’s opening track, “The Modern Leper.”

Scott Hutchison, who died last year, played a big role in piecing together the compilation. “This is a celebration of a record that connected thousands of people to Scott and connected thousands of people to each other and ten years on is still managing to do it,” the band wrote in the album announcement.

Our beloved brother and son Scott Hutchison was born in Edinburgh in 1981. He took his own life in Queensferry in 2018. In those 36 and a half years, Scott’s impact was far reaching and felt by many people. Through his music and art he made many thousands of tiny changes and encouraged other people around the world to do the same. The honesty of his lyrics and openness about his own mental health inspired people in all walks of life. It is a legacy that should be continued and nourished.

The album will include covers by the National’s Aaron Dessner, Chvrches’ Lauren Mayberry, the Hold Steady’s Craig Finn, Katie Harkin, Sarah Silverman, Manchester Orchestra, and Ben Gibbard. A portion of the proceeds from album sales will benefit Tiny Changes, the mental health charity launched last month in Hutchison’s honor.

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May 10th, 2018 is a date that many indie music fans will never forget. It is the day we learned that Frightened Rabbit front man Scott Hutchison said goodbye to the world. Unfortunately, we never got the opportunity to say thank you for being the best friend we needed in our most difficult times. He did, however, leave one last parting gift, which he crafted with his brother and fellow Frightened Rabbit Grant Hutchison and siblings Justin Lockey of Editors and James Lockey of Minor Victories. Together, the four formed the super-sibling rock band mastersystem. Their one album, Dance Music, is, well, a modern-rock masterpiece.

Opener “Proper Home” leaves no doubt that Dance Music is meant for cavernous rock halls. The stormy fervor of “Notes on a Life Not Quite Lived” is the closest thing to a Frightened Rabbit track on the record. It roars like a full-throttle engine that spews reverb-heavy dueling guitars and propulsive percussion. Scott’s lyrics are poignant and heavy, as he sings of “lessons learned”, being “lost in a deep abyss”, and finding “hope in hopelessness”.

The final album by the late, great Frightened Rabbit frontman Scott Hutchison, this side-project with members of Editors, Minor Victories  took his brutal and introspective poetry into gnarlier terrain to create something much like its Sega console namesake: simple, free of frills, nostalgic, and yet weirdly futuristic at the same time.

Frightened Rabbit, Editors and Minor Victories combine for maximum heavy riffage. For more: Debut album released 6th April 2018 on Physical Education Recordings

Mastersystem go full bore The Pogues with a heavy dose of A Place To Bury Strangers on “The Enlightenment”. As Grant’s militaristic drumming leads the way, Scott poignantly tackles his own existence and purpose. A similar introspective tone percolates on “Must Try Harder”, which wails with the ferocity of Smashing Pumpkins in their prime. A moment of brief reprieve occurs on the pulsating, politically-driven “Teething”. Meanwhile, a more melodic approach is adopted on the grungy “Bird is Bored of Flying”, which highlights Scott’s philosophical songwriting style. As his band mates quietly rage, he smartly confronts people’s obsession with wealth. He hollers, “We all want fire until it starts to burn”.

The album’s peak, though, is “Old Team”. It is a song for the underdog and all seeking to “get it right”. The Hutchisons’ trademark fervor is brilliantly meshed with the signature Lockey scorching depth, resulting in an epic anthem. It’s a fist-pounding, tear-down-the-walls number that will have people yelling, “Nobody fuck with me!”. These words seem apropos for Mastersystem, who unleash a sonic fury reminiscent of the great alt-rock bands of the past. It’s an LP that is among the very best rock outputs of the year and one that rivals the very best of the ’90s.

Dance Music is out April 6th via Physical Education Recordings,

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In a heartbreaking development, a body found in the search for Frightened Rabbit singer Scott Hutchison, who went missing earlier this week, has been identified as the musician, The death of Scott Hutchison, lead singer and songwriter for Scottish indie-rock band Frightened Rabbit, has been confirmed by Scottish police after the musician went missing earlier this week, Hutchison was last seen leaving his hotel in Edinburgh on early Wednesday morning, and his body was found Thursday evening nearby at Port Edgar. Hutchison was 36 years old.

Hutchison’s bandmates began posting messages about his disappearance on their social media pages, expressing their worry by saying, “He may be in a fragile state and may not be making the best decisions for himself right now” and asking for any information on his whereabouts. This morning, the band posted a note confirming Hutchison’s death and asking for fans to continue to share stories of how the singer’s music touched their lives:

There are no words to describe the overwhelming sadness and pain that comes with the death of our beloved Scott but to know he is no longer suffering brings us some comfort. Reading messages of support and hope from those he has helped through art has helped immensely and we encourage you to continue doing this. He will be missed by all of us and his absence will always be felt but he leaves a legacy of hope, kindness and colour that will forever be remembered and shared. Rest peacefully Scott.

Much love
Grant, Billy, Andy and Simon x

Scott, like many artists, wore his heart on his sleeve and that was evident in the lyrics of his music and the content of many of his social media posts. He was passionate, articulate and charismatic, as well as being one of the funniest and kindest people we knew. Friends and family would all agree that he had a brilliant sense of humour and was a great person to be around. In addition to his musical success, Scott was a wonderful son, brother, uncle and friend. Despite whatever else was going on in his life he always had time for those he cared for.

Frightened Rabbit performing live at The Triple Door as part of KEXP’s VIP Club Concert series. Recorded on March 8th, 2013.

Songs: Table of contents: 0:39 Holy 5:05 Backyard Skulls 8:29 December’s Tradition 13:22 State Hospital 18:14 The Wood Pile 22:58 Oil Slick 27:20 Old Old Fashioned 32:31 Living In Colour 36:25 Acts Of Man

Scott Hutchison began Frightened Rabbit as a solo project in 2003 but eventually teamed up with his brother Grant for the group’s debut album Sing the Greys in 2006 and then added Bill Kennedy for 2008’s breakout Midnight Organ Fight. The band’s fifth and final album was 2016’s Painting of a Panic Attack, which continued Hutchison’s artistic openness about his mental health issues, though the singer-songwriter had hinted at wanting to begin recording a sixth. Just before his disappearance earlier this week, Hutchison had tweeted out two messages to his followers that read: “Be so good to everyone you love. It’s not a given. I’m so annoyed that it’s not. I didn’t live by that standard and it kills me. Please, hug your loved ones. I’m away now. Thanks.”

Painting Of A Panic Attack

This is ‘Get Out’ from Frightened Rabbit’s brand new album ‘Painting Of A Panic Attack’
their video for ‘Get Out’, the second track from their album. the bands fifth studio album, ‘Painting of a Panic Attack’, released back in April . The new song follows ‘Death Dream’, which was released earlier this year.

Lead singer, Scott Hutchison, comments about their new track: “Get Out” is about that person to whom you are completely addicted. They are a drug, and the one that you don’t feel like quitting. They live in your blood and will not leave.

“It’s wonderful, yet terribly unhealthy. I think Greg’s video reflects this sentiment beautifully, the literal push and pull of an intense but destructive love.”

‘Painting of a Panic Attack’ was produced by The National’s Aaron Dessner and follows the Scottish band’s 2013 album ‘Pedestrian Verse’.

 

The LUMINEERS  –  Cleopatra

The Colorado folk rockers follow-up their surprise hit debut—no pressure at all—in an attempt to either become the American Mumford & Sons or keep it at arm’s length. Four years have passed since The Lumineers released their debut self-titled album. They hit the alternative landscape with such a strong force, it’s a surprise how long it took for them to return. Now after that long wait, the second album, called ‘Cleopatra’ is released. Frontman Wesley Schultz and co-founder Jeremiah Fraites got back to basics when it came time to write for the 11-track collection. And while the raw, jangly guitars, parlor-room piano chords, and marching band snare rolls from the first record remain intact, ‘Cleopatra’ has a welcome, added heft.
LP – Housed in Gatefold Sleeve.

ELIZA and the BEAR  –  Eliza and the Bear

Just in time to soundtrack your summer and beyond, five-piece Eliza and the Bear unveil their debut album ‘Eliza and the Bear’ and the new single ‘It Gets Cold’. With its fist-in-the-air sensibility and hopeful urgency, the song is both epic and intimate in equal measure. For fans of Of Monsters and Men, Mumford and Sons and Phoenix.

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FRIGHTENED RABBIT  –  The Painting of a Panic Attack

The fifth release from this Scottish indie rock band has occasioned some less-than-glowing notices, which I don’t understand at all. Certainly Scott Hutchison’s songs of alienation and confusion sound cleaner than they ever have, but he’s still the same fucked up witness to life’s messy emotions and whiplash curveballs. If the pristine production—which they’ve been working towards since the get-go—is what brings them to the masses, I can live with that. And so can you

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M83   –   Junk

Along with Daft Punk and Air, Anthony Gonzalez has done more to make French pop palatable to the international market than anyone. There was a time, not so long ago dear readers, when the idea of French rock and pop stars was a joke. Who’s laughing now, silly Americans?

Parquet Courts - Human Performance - Artwork

PARQUET COURTS  –   Human Performance

Like everyone else, I was turned onto this Brooklyn-by-way-of-Texas quartet upon exposure to their sophomore release, Light Up Gold, and it’s smart neo-indie, especially—again like everyone else—when I heard “Stoned and Starving” for the first time and immediately made it 20, 30, etc. Subsequent releases—either as Parquet Courts or Parkay Quarts—have made progress in tiny increments. Human Performanceis a giant step—not necessarily in composition, they’ve always been good at their Velvet Underground-meets-The Strokes vibe, but in production (which means they spent some time in the studio instead of just bashing the tunes out). Don’t worry. They haven’t turned into Muse or whatnot; but they’ve given some love and attention to the process, kind of like when Hüsker Dü signed to Warner Bros.

TELEMAN    –   Brilliant Sanity

Yet another in a long line of eccentric, fey voiced English pop bands and, bless ‘em all, they continue to tickle and entertain me. These guys are up there with Dutch Uncles and Field Music, so if you know or like those you have no excuse not to get on this. Teleman return with their second album on Moshi Moshi which was recorded by Dan Carey at his South London studio. The art of songwriting has been the driving force behind Teleman’s second album ‘Brilliant Sanity’: the process of crafting of the immaculate pop song, the dogged pursuit of the perfect hook. The result is an album that appears fastidiously and impeccably made, but also charged with joy. ‘Brilliant Sanity’ shows Sanders as an accomplished and distinctive lyricist, with a passion for the music of words themselves and an eye for the singular image. You can see this preoccupation with strong imagery throughout ‘Brilliant Sanity’ – in the deftness of its song titles – ‘Tangerine’, for instance, or ‘Canvas Shoe’, in its recurrent references to devilry and fire, and in its most lingering lines – a reference to a ‘Chinese burn’ in ‘Glory Hallelujah’, for instance, or in the declaration “Every time I’m alone with you / The air gets heavy and drips like glue” of first single, ‘Fall in Time’.
LP – With Download.

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The DANDY WARHOLS  –   Distortland

The Dandy Warhols spent 2015 writing new music and the band closed out the year with a packed-to-capacity tour of the U.S. West Coast and South including a three-night stint at Los Angeles’ Teregram Ballroom. Signing to Dine Alone was another highlight of the year, not only for the band, but for label owner/founder,

Album 10 reminds us that when they are on their game they were a great link from glam to grunge.

The GOON SAX  –  Up To Anything

Chapter Music release ‘Up To Anything’, the debut album by Brisbane trio The Goon Sax. Louis Forster, James Harrison and Riley Jones are all 17-18 years old. They make pop music. They have refined tastes – they love the Pastels, Talking Heads, Galaxie 500, Bob Dylan and Arthur Russell. On ‘Up To Anything’ they pull off the almost impossible, capturing the awkwardness, self-doubt and visceral excitement of teenage life, while still in the thick of actually living it. Goon Sax songs are both immediately charming and deceptively deep – Sweaty Hands examines a point in a relationship where you’re seen at your worst, while Telephone addresses the heartbreaking realisation that nothing you offer your crush is enough.

CARLTON MELTON  – Aground

Record Store Day 2016 Release. A follow up / companion piece to 2015’s well received ‘Out To Sea’ opus released on Agitated Records. 5 tracks of magick-karpet wreck’d psychedelic morass. The raft ran aground, you have to get your ears on and wander the deserted shores of this desolate isle (metaphorically speaking, but you get the ‘drift’ right?) Aim for the high ground, build a fire, look to the horizons and let it all flow. These tracks were from the same sessions that spawned ‘Out To Sea’, there’s a natural flow, a cohesion that makes the whole trip worth taking. Recorded / Engineered by Phil Manly / Lucky Cat studios.  5 tacks, cut at 45 rpm, lush transparent green vinyl in an edition of 600 Copies Only.

 

Frightened Rabbit’s 2008 masterpiece The Midnight Organ Fight hasn’t become indie canon like other records from that year like Fleet Foxes or Deerhunter’s Microcastle, but it’s become untouchable because it’s the kind of album people connected too. It’s a breakup album and it’s the kind where you can hang on to and obsess over every word if it hits you at the right time in your life. It’s probably the only reason Frightened Rabbit can play the massive Terminal 5 eight years later. When you write an album like that, the expectations for a followup are often tough to reach, and Frightened Rabbit missed the ball by a mile when they followed it with (what is still) their worst record, The Winter of Mixed Drinks. That album put a pretty major damper on their career, but more recently they’ve been quietly establishing themselves as a band with serious longevity. 2013’s Pedestrian Verse was a lot better than expected and it’s still kinda underrated, and the same can be said for singer Scott Hutchison’s 2014 solo album as Owl John.

Painting of a Panic Attack continues this trend. They may never capture the magic of The Midnight Organ Fight again, but Panic Attack has plenty of their best qualities in fine form: anthemic, atmospheric songs, depressing lyrics, and the unmistakable voice of Scott Hutchison.

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The album’s bookended by two of its best songs, opener “Death Dream” with its repeated middle section of “you died in your sleep last night” (double meaning presumably intended), and acoustic closer “Die Like A Rich Boy” where Scott suggests “I want to die like a rich boy diving in a hydrocodone dream / You can die like a rich girl by me, oh how the magazines will read.” And after revealing more of the fantasy (“I want to die like a rich boy drowning in a lake that bears my name”), he concludes, “I want to die like a rich boy, even if we’re as poor as we are now.” It’s a Frightened Rabbit sentiment if there ever was one.

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The frontman of the band Frightenend Rabbit started as a project that he described was for the good of the band, An outlet to pursue some ideas away from the band constraints and return fresh from the studio, The Owl John album is out this week a record that will suprise the Rabbits faithful A slighly darker sound.