Tiny Changes: A Celebration of Frightened Rabbit's 'The Midnight Organ Fight' Frightened Rabbit

• 1 The Modern Leper 03:20
• 2 I Feel Better 03:34
• 3 Good Arms vs. Bad Arms 04:13
• 4 Fast Blood 03:49
• 5 Old Old Fashioned 03:53
• 6 The Twist 03:30
• 7 Bright Pink Bookmark 03:01
• 8 Head Rolls Off 03:57
• 9 My Backwards Walk 03:39
• 10 Keep Yourself Warm 05:33
• 11 Extrasupervery 03:17
• 12 Poke 05:06
• 13 Floating In The Forth 03:51
• 14 Who'd You Kill Now? 01:32
• 15 The Modern Leper 04:27
• 16 The Twist 04:26
• 17 My Backwards Walk 03:36
• Total Runtime 01:04:44

Info for Tiny Changes: A Celebration of Frightened Rabbit's 'The Midnight Organ Fight'

Gut ein Jahr, nachdem sich Frightened-Rabbit-Frontmann Scott Hutchinson das Leben genommen hat, haben die verbliebenen Mitglieder der schottischen Band die Veröffentlichung eines besonderen Cover-Albums angekündigt. Anlass ist der 10. Geburtstag ihres wegweisenden und von der Kritik geliebten zweiten Albums "The Midnight Organ Fight" (2008), mit dem die Band vor Hutchinsons Tod bereits auf einer speziellen 10th Anniversary Tour unterwegs gewesen war. Noch vor dem Ableben des Frontmanns hatte man befreundete Künstler gebeten, Songs des Albums zu covern. Diese werden nun in Form des Albums "Tiny Changes" das Licht des Tages erblicken.

Zwei Cover des Album-Songs "Modern Leper" von Biffy Clyro und Julien Baker feierten gestern Abend bei Beats 1 Premiere und sind nun beim Vorbestellen des Albums erhältlich. Unten hört ihr die schönen und sehr unterschiedlichen Interpretationen des Songs. Zu den weiteren Mitwirkenden des Albums gehören Mayberry von Chvrches, Aaron Dessner von The National, Sarah Silverman und Josh Ritter. Unten lest ihr das komplette Tracklisting. Das Album wird am 12. Juli erhältlich sein, ein Teil der Erlöse geht wohltätigen Organisationen zugute, die sich für seelische Gesundheit einsetzen – "Tiny Changes" ist auch der Name der Charity-Einrichtung, die Scotts Familie und seine Band ins Leben gerufen haben, um Kindern und Erwachsenen mit seelischen Problemen zu helfen.

"Um den 10. Geburtstag unseres Albums 'The Midnight Organ Fight' zu feiern, haben wir versucht die üblichen Vorgänge zu vermeiden: Neupressungen des Vinyls, Neuveröffentlichung des Albums mit neuem Artwork und mit Bonus-Songs oder Demos, die sowieso niemals für andere Ohren bestimmt waren als unsere eigenen", kommentieren Frightened Rabbit in einem Statement. "Wir haben dafür ein paar Freundinnen und Freunde gefragt, ob sie nicht ihre eigenen Interpretationen der Songs des Albums aufnehmen möchten. Es fühlte sich nach einer guten Art und Weise an, alle zu ehren und zu feiern, die in den letzten zehn Jahren ein Teil unserer Band-Geschichte waren. Und das beste: wir hatten selbst keine Arbeit! Jede einzelne Person auf diesem 'Tiny Changes'-Album hatte in den letzten zehn Jahren einen ganz besonderen Anteil an unserem Leben und den Frightened Rabbits. Wir haben uns mit diesen Menschen Studios, Transporter, Bars, Garderoben und mit einigen vermutlich sogar die Unterwäsche geteilt. Deshalb ist dieses Album so besonders für uns."

Und weiter: "Scott hatte einen großen Anteil daran, dass dieses Album realisiert wurde. Er arbeitete daran mit großer Begeisterung und steckte eine Menge Enthusiasmus in das Projekt. Er hörte sich jeden einzelnen Song genau an und hat mit uns gemeinsam jedes Stück freigegeben. Er hatte auch bereits mit dem Artwork begonnen, dass ihr sehen könnt, wenn ihr euch die Platte kauft. 'Tiny Changes' ist eine Zelebrierung eines Albums, das tausende von Leuten mit Scott verband und tausende von Menschen untereinander verband und dies auch immer noch tut. Scott würde an dieser Stelle vermutlich einen Witz machen, dass das Album 'The Midnight Organ Fight' bald in die Pubertät käme und anfinge sich rebellisch zu verhalten, in dem es Gras rauche und sich piercen lasse. Wir - Grant, Andy, Simon und Billy - sind nicht so witzig wie Scott. Also lasst uns einfach das Glas erheben, die Kerzen auspusten und uns was wünschen".

Frightened Rabbit
Ever since Scott Hutchison started releasing music as Frightened Rabbit more than a decade ago, his emotionally honest and incisively worded lyrics have been among the project’s most beloved qualities. Over the course of five albums, including their new Painting of a Panic Attack, Frightened Rabbit’s frontman has made poetry of his misery, and still somehow managed to make it sound anthemic — like a triumphant rallying cry rather than a downer. In all of those respects, Painting of a Panic Attack – produced by The National’s Aaron Dessner – is the band’s most accomplished collection yet. “Great songwriters touch a nerve, and I think Scott really touches a nerve with these songs,” says Dessner. “To me, lyrically, this album is a step above anything he’s written before.”

Beginning with the 2006 debut album Sing The Greys, Frightened Rabbit have become one of the U.K.’s most beloved exports. Though originally self-released, Sing The Greys earned the band a deal with indie label Fat Cat Records, who re-released the album and the two that followed: 2008’s Midnight Organ Fight and 2010’s The Winter of Mixed Drinks. Their last album, 2013’s Pedestrian Verse, marked their Canvasback / Atlantic Records debut, as well as their most critically and commercially successful albums to date. In the UK, that LP was dubbed “a triumph” by The Quietus, while The Guardian described it as “a collection of stirring, instant anthems.” Equal praise came from wide swath of U.S. outlets, including Rolling Stone, Time magazine, and Pitchfork, who praised Hutchison’s “lucid assessments of social and emotional turmoil.” The album also helped Frightened Rabbit achieve new commercial milestones, bringing a Top 10 debut in the U.K..

“I think a lot of this new record is informed by reaching a conclusion of sorts with Pedestrian Verse — closing a door on a sound that we came the closest to achieving with that album,” says Hutchison. After taking some time off from Frightened Rabbit to record and tour in support of the 2014 solo album he released as Owl John, the singer returned to his band with the goal of continuing to explore new approaches to songwriting. One important aspect of that evolution has been a shift to a more collaborative process, with all five band members contributing as songwriters.

Painting of a Panic Attack began in the summer of 2014, when the band — Hutchison, his brother/drummer Grant Hutchison, bassist Billy Kennedy, guitarist/keyboardist Andy Monaghan, and multi-instrumentalist Simon Liddell (who worked with Hutchison and Monaghan on Owl John and joined Frightened Rabbit after Gordon Skene’s amicable departure) — convened in Wales to begin demoing ideas. “We started as though we were making an instrumental album,” Hutchison explains. They wrote and tracked approximately a song a day during the course of a couple weeks and ended up with a dozen ideas that Hutchison took back with him to his new home in Los Angeles, where he would tackle the lyrics.

The singer had relocated there from Glasgow earlier that same year, and, although initially optimistic about the move, he was surprised to quickly discover that he felt profoundly out-of-step in LA. “I don’t usually get homesick,” he says, “but I’d never gone so far from home for such a long period of time before.” Being disconnected by friends, family, and especially his bandmates was a stark contrast to his life while making Pedestrian Verse, where the band moved in together, forging a camaraderie and connection that was, in Hutchison’s own words, “gang-like.”

As he worked his way through the Wales demos, Hutchison says, “I was circling what could be a central idea for this record — this sense of not really being sure why I was in LA. But I was still avoiding admitting that that was how I felt.” He sent a few tracks to his brother Grant for some feedback. “Grant was like, ‘Are you really saying what you think here?,’” Hutchison recalls. “Initially I was pissed, but as I thought about it more I realized that he was right. That, out of the desire for this album to be different, I was avoiding writing about the stuff that actually matters to me and the things that were going on with me at the time. I was fictionalizing a bit too much. And after that conversation, a lot of things came into focus.”

The first thing he wrote after that — the anthemic “I Wish I Was Sober” — is sure to become one of Painting of a Panic Attack’s signature songs. “It’s a lonely song,” says Hutchison. “There’s a lot of that on this record, because I was really lonely in LA. And I think that’s what ‘I Wish I Was Sober’ came to represent: that desperate point where you’re like, ‘I have had too much and I don’t have anyone to lean on.’”

Of first single “Get Out” — a tune about a lover you’ll never get over — Hutchison says: “‘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. I’ve always found it compelling to write about the physical nature of love and loss, rather than the mental aspect. ‘Get Out’ continues that exploration and takes it to a somewhat obsessive level.”

As Hutchison continued to work on the new songs, he reached out to Dessner to discuss collaborating — maybe writing a couple songs together. The two musicians originally met in 2013, when Frightened Rabbit opened for The National on a month-long tour. But Dessner was also a longtime fan of the band, and quickly became the obvious choice to produce Painting of a Panic Attack. “Before this,” Hutchison notes, “we’d never actually worked with a producer who had such a distinct awareness of our catalog and where we’d been as a band. And Aaron was very mindful of that — what we had done in the past and where we needed to go with this album to take us creatively forward.”

Frightened Rabbit arrived at Dessner’s Ditmas Park, Brooklyn studio last August with thirty contenders for Painting of a Panic Attack, and whittled down from there over the course of the following month. As they considered which direction the album should take, Hutchison says it became clear that the best tracks were the ones with the most emotional immediacy. “‘I Wish I Was Sober’ is not the first song I’ve written about being drunk, and ‘Break’ is not the first song I’ve written about being a fuck-up and wishing I wasn’t, but it turns out there are many ways of expressing that,” says Hutchison. “I think people who are fans of our band come to us for a sense of belonging. I know that’s not unique to us, but I really do believe that our music can come to a person at a pivotal point in their life and that we can become this place to consider where you are in the world.”

This album contains no booklet.