White Rabbits come to New York via the arid plains of the Mid West. After spending the better part of two years on the road (including festival stops at Lollapallooza, Glastonbury (UK), Sasquatch, Monolith and tours with The Walkmen, Spoon, Richard Swift, The Cribs, White Denim and Tokyo Police Club) White Rabbits bunkered down in their Brooklyn practice space to set about re-envisioning the dark pop of their debut FORT NIGHTLY, while adding new sounds and influences to achieve an original work. The result is IT’S FRIGHTENING, their second full-length album.

White Rabbits signed to TBD Records (US home to Radiohead/Other Lives/Hatcham Social) and erected a makeshift studio in their basement rehearsal space to demo new material. Band members popped in and out over the course of several months lending ideas and personality to a new batch of songs that defy instant categorization. After enlisting tourmate, friend and songwriter Britt Daniel (Spoon) as producer, the pair began the process of exchanging demos between Brooklyn and Portland. White Rabbits recorded IT’S FRIGHTENING over the course of four weeks, only taking a break to play the Transmusicales Festival in Rennes, France. The sessions were recorded by visionary engineer Nicholas Vernhes (Animal Collective, Deerhunter) at Rare Book Room in Brooklyn, NY. Taking special care to recreate the unhinged nature of the original demos, the band utilized the wide range of tools in the analog-friendly studio to shape the personal spirit infused in the new tracks. Upon the completion of tracking, White Rabbits traveled to Austin, TX to mix the record with studio wizard Mike McCarthy (Spoon, Trail Of Dead) using his exceptional ears to transform It’s Frightening into a uniquely rewarding headphone experience.

IT’S FRIGHTENING plays like a classic reel of tape from start to finish. Opening with the visceral drums of ‘Percussion Gun,’ it is clear that time-off from the road has served the band well. The many highlights include the emotional centerpiece ‘Company I Keep,’ the new sonic territory of ‘Lionesse’ and the macabre lyrics of ‘Right Where They Left.’

The lineup : Stephen Patterson (vox/piano), Jamie Levinson (drums), Matthew Clark (drums, guitar), Alex Even (guitar), Gregory Roberts (guitar/vox).The band is returning to the UK later in 2010. IT’S FRIGHTENING is released on the 25th January, on the Mute label.

Review

After a burst of laughter, an Adam & The Ants style drum roll dominates the first half of opener ‘Percussion Drum.’ It’s also going to be the band’s first single of the album and rightly so with that relentless, quick-fire drum beat, catchy chorus, and some pleasant three-part harmonies (this band is full of singers). ‘Rudiefails’ is certainly distinctive and while it may lack strong hooks it roars along with a couple of surprises in store, such as the flashing piano after the middle-eight. ‘They Done Wrong/We Done Wrong’ is more contemplative in style with drums still supplying a strong rhythmic foundation. The melody is tangible and the sound is highly original, especially when that piano makes a return visit. ‘Lionesse’ has a long, rather eerie and adventurous intro before it opens out in a style reminiscent of Radiohead. Instruments dominate this tune with vocals flashing in and out (”Listen to me, listen to me.”). It’s very different and very welcome for a band to distinguish itself in such an overcrowded indie band market.

‘Company I Keep’ is another standout here with its strong melody, gorgeous instrumental arrangement, arguably the most expressive lead vocal on the album, and that piano which plays such an important part in this band’s music. Wonderful and despite the fact that is a slower, thoughtful track, it’s quite epic. ‘The Salesman (Tramp Life)’ repeats the dose. ‘Midnight And I’ is downbeat, dark and boasts another fabulous instrumental
arrangement with that piano playing a key role (unintended pun…). Despite a terrific instrumental backdrop, ‘Right Where They Left’ is one ofthe weaker tracks here. ‘The Lady Vanishes’ is back to form with a melodic, largely acoustic, bittersweet song which against reminds me of Radiohead as it sweeps along. It’s another standout. ‘Leave It At The Door’ opens with a simple, rudimentary piano rhythm that underpins the song throughout, pounding out below another expressive vocal and some swooning harmonies.

This is an excellent collection of songs from a band that has created a distinctive sound. For me, there is only one song that fails to hit the mark which leaves nine great songs. My only criticism is that there are not enough killer punch choruses as in the opening single ‘Percussion Drum.’ That said, this album grows on me each time I play it, and I look foward to witnessing a live performance later this year. Highly recommended.

4/5