![]() ![]() So it makes for a curious opener, though it’s an accurate preview of yet another instance where Dessner’s charges end up sounding like his main band. While it boasts Hutchison’s most vivid and morbid poetry yet, “Death Dreams” doesn’t lift off, floating more towards the rafters like a errant balloon. He often plays the religious skeptic in his lyrics, but Hutchison sure thinks piano sounds heavenly in a church it’s hard not to think of “Fake Empire” just from the mere tone of the reverberant chord that opens “Death Dream.” By the time the progression begins to settle, it’s pretty much impossible to not hum “stay out.super late…tonight,” as the “Fake Empire” melody fits almost exactly. “Death Dream” immediately extinguishes any hope that Frightened Rabbit might return to the scrappy charms of Sing the Greys or The Midnight Organ Fight. Sub in High Violet and Trouble Will Find Me for their respective years, and this is basically the same exact career trajectory as the National, so it’s only natural that the two bands go from sharing tour bills and a producer (Peter Katis) to sharing a studio-and so with Aaron Dessner behind the boards, Painting of a Panic Attack is more a sensible repositioning than a reinvention. Shortly thereafter, Hutchison moved to Los Angeles with his girlfriend. It's the one that said “this is who we are going forward”: a major-label band that plays 2000-3000 cap rooms. Pedestrian Verse arrived three years later, an album that isn’t widely considered their best, but it's definitive in its own way. ![]() That tension was projected onto the anxious, thickly overdubbed The Winter of Mixed Drinks. By 2010, success and expanding ambition started to strain against their underdog appeal. Forming in 2003, Frightened Rabbit established their reputation with ramshackle anthems of heartbreak and hangovers that presented frontman Scott Hutchison as self-loathing, self-destructive, but ultimately sympathetic. ![]()
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