Frightened Rabbit

Frightened Rabbit

The Winter of Mixed Drinks

2010

Not since William Wallace was declared Guardian of the Kingdom of Scotland has something so notable come out of Selkirk. Frightened Rabbit, the crux of which are the brothers Scott and Grant Hutchison, has released their fantastically titled album The Winter of Mixed Drinks, a deceptively solid effort that shines while masking its intricacies. It’s full of atmospheric texture and understatedly intense rhythmic streams coming from all directions; a sonic washing and rhythmic jolt of an album that manages to scratch the surface of optimism at the very bottom when everything has gone wrong and there’s nowhere to go but up. The closer you look at one specific aspect of the album, i.e., harmony, percussion, rhythm, even in the reverberating echoes, the more complexity you find there.

One unique thread that runs throughout this album is that it paradoxically has a subdued high intensity, as often in a bass part as guitar or percussion. This feeling lends itself to the neurotically palpable sense of isolation and disconnectedness. The industrious tinkerings of soft counter-melodies on keys, the eighth note pounding of strings or delay, the hummable melodies that repeat in your head for days combine with the emotive vocal work to make for a fantastic album. Produced by Peter Katis of Guster, Spoon, Interpol, Fanfarlo, and Jonsi Birgisson fame, it’s masterfully done.

Signed to Fat Cat Records out of London and accompanying an impressive slate of artists including Animal Collective, Sigur Ros, We Were Promised Jetpacks and Jonsi, Frightened Rabbit stands in the top tier and carries their own weight. Concise and intelligent songwriting allow the distinctly Irish vocals to flourish, even if that accent can never fully escape the shadow of Echo & the Bunnymen, Kaiser Chiefs and the Pogues. After touring in 2008 with Death Cab for Cutie and 2009 with Gomez and Modest Mouse, the band’s tour schedule remains in North America for the next few months before returning overseas.

“Swim Until You Can’t See Land” is the first single and really encapsulates the theme of the album in one song. It’s the songwriting, the production, the theme of being burned and at the bottom and testing yourself to the limit in lines like “Are you a man or are you a bag of sand?” and the numbness of “All I am is a body adrift in water, salt and sky.” It is exactly this allusion to water that reveals a catharsis in water and a helplessness to the vastness and currents of the ocean. When peering into the textures of the album, it’s like opening the lid of a shining grand piano, sleek and stunning, to see the incredible tension wires and hammers, deciphering how it operates. It also has the ability to be missed if you aren't paying attention, like code words between potential spies looking to verify a contact. As for Scotland, the most recent thing to come out of Selkirk is no longer the ancestors of Franklin Delano Roosevelt.

bsm

SXSW 2010 Day Four

March 20, 2010 Saturday

I once heard Chris Thile say that South by Southwest is kind of like a reverse meet and greet, where instead of people going to see a band at a concert, bands come to see Austin and its people, star-struck with the beautiful city and the buzz of maddening crowds. Despite this harsh analysis, watching the frenetic pushing of guitar amps, cases and drums through the city streets reveals a great deal of accuracy in the statement.

Our final day at SXSW began in difficulty, facing high winds, a drop in temperature, a lack of parking and long lines. To avoid the bitter wind and chilly gloom, we bunkered down at the Red Eyed Fly with the WXPN party. The inside stage was tiny with a small sound system and had the feeling of a dark and seedy dive bar. It showcased smaller, singer songwriter type acts. Nicole Adkins was first up, just her and her acoustic playing some sweet songs in a sultry baritone. The underpowered inside sound was problematic, as it was completely overwhelmed by competing band volume outside. The rear outside stage was in a large enclosed patio area and had fantastic sound. First up on the outside stage was Dawes, a band from LA and a perfect example of the reason you come to Austin to experience SXSW. Dawes made an immediate impression with their live show and shot immediately to the top of the Bands To Check Out Post SXSW list. In support of their debut cd North Hills, the band plowed through some great songs in the gritty pop and Southern harmonies vein, reminiscent of Springsteen, Wilco, Van Morrison and a dash of the pure pop perfection of Weezer. Intelligent lyrics abound, like “I need a graceful and proud way to accept all the things you don’t know” from Love Is All I Am, as well as an offering from “That Western Skyline”: “All my dreams did not come true, they only fell apart.” I can only hope all of their eight Austin shows this week have been this good.

The next few acts rotated between inside and out, mostly falling short of the intensity and quality of other acts we had seen, including Lissie on the small inside stage. This was her 9^th show in the 4 days of SXSW, with just her on electric guitar as singer songwriter with a drummer/bass player. Outside was Jukebox the Ghost, a kind of dance rock band, but the vocals and melodies were a bit too flip for my unhipster tastes. Most of this time was in anticipation of the Freelance Whales, one of the few bands on my must see list. The odds were definitely stacked against them, being in the small room with a loud band outside and an underpowered system, but there was no reason to worry about a subpar performance. Ten minutes after their scheduled start time, they were still not at the club and got bumped. It turned out that their previous show was in a lineup that was very behind schedule and threw the whole thing off. Leaving the club, we made our way to the Billboard.com Bungalow party with the Carolina Chocolate Drops. This is a three piece banjo, harmonica, jug, fiddle, steel guitar playing band encompassing delta, blues, ragtime and having success on the bluegrass & Americana charts. It was a fun set that included “Cornbread & Butterbeans”, as well as the recognizable “Hit ‘Em Up Style” from 2001, reimagined w southern strings.

South by Southwest can be overwhelming. There are so many bands and venues and sponsored events and underground word-of-mouth attention-getters that it’s hard to choose your direction. But that also makes it easy, if you let it. You’re bound to stumble into things that you could have never planned for, even things that would normally fall outside of your preconceived notions of what you like. Being open to the diversity of bands is one of the greatest aspects of SXSW. Even more fascinating is the diversity of the people, the differing styles, clothes and ages that beg questions of backgrounds and common threads. The answer of which, obviously, is Music, with a capitol M. It seems that when it comes to age, Music keeps the old young and makes the young reach into the depths. It challenges the old to break cycles, habits and comforts, and stretch to find the New. It makes the young project cocksure hypotheses about the future that can only be answered years later, if ever. Regardless of age and identity, South by Southwest is a celebration of the passion music stirs in all of us, and an event truly about finding unexpected discoveries and holding on with all your might.

Brian S. Meurer