Favorite Records of 2013 (So Far)

Oh, 2013, what am I supposed to do with you? You have been full of disappointment. SO MANY UNDERWHELMING RECORDS!

But I think, or I hope, I can come up with ten records that I have been loving this year. Let's see...

1. Frightened Rabbit-Pedestrian Verse
I'm not going to waste anyone else's time by explaining, once again, how good I think this record is. Go back and read every post I've written this year if you want to know why. Bottom line: it's a well-written, well-produced, enjoyable, dynamic pop-rock record from a band who really gets it.

Favorite Tracks: Acts of Man, The Woodpile, State Hospital.

2. Phosphorescent-Muchacho
Has a more beautiful record been released this year? Lord, this record is stunning. It doesn't seem like much at first but the more you listen, the more these tracks sneak up on you. And then you realize how intricate and detailed it all is.   

Favorite Tracks: Song for Zula, The Quotidian Beasts,  Sun, Arise!.

3. Majical Cloudz-Imposter
Just like the first two records on this list, this one came out of nowhere. But at least I knew of Phosphorescent and was technically already a FR fan but I hadn't heard of Majical Cloudz until a few days before this record was released. And I was hooked from the start. Devon Walsh's voice is magnificent, the lyrics are great, and it's yet another record whose intricacies slowly reveal themselves and eventually blow you away.

Favorite Tracks: This Is Magic, Mister, Chilhood Endz.

4. Laura Marling-Once I Was an Eagle
This is only a few weeks old but I can't stop listening to it. I've been a fan of Laura Marling's since her first record and although I find her a bit hit or miss since Alas, I Cannot Swim, this record is a return to form. Dare I say, it's her best. Back in February when I wrote about The Midnight Organ Fight, I mentioned that I had to keep restarting tracks because it was the only way to absorb the great lyrics. I have this problem with this record too. It takes me awhile to listen to one track because I stop and start songs at least three times. Laura Marling's music has always been far more mature than her years but on Once I Was An Eagle, her songwriting is so strong and confident.

Favorite Tracks: I Was An Eagle, You Know, Breathe.

5. James Blake-Overgrown
Jame Blake has the voice of an angel.

Favorite Tracks: Overgrown, Retrograde, DLM.

6. Jim James-Regions of Light and Sound of God
Oh, Jim James. Like I asked previously, is there a more talented, more hard-working, cooler man in indie music? Doubtful. And this record only further proves it.

Favorite Tracks: Dear One, A New Life, Know Til Now.

7. Tegan and Sara-Heartthrob
Like Laura Marling's record, Heartthrob was a return to form for Tegan and Sara. They released the perfect pop record this year and while I was a bit wary at first, it turned out to be a real winner. Sara Quin proved herself to be a fantastic songwriter on this record.

Favorite Tracks: Closer, Now I'm All Messed Up, I'm Not Your Hero.

Huh, I guess I only really love seven records this year. Oh well. But if I had to round it out, I'd put Frank Turner's Tape Deck Heart, The National's Trouble Will Find Me, and Baths' Obsidian. I also liked Cloud Cult's Love. But we have six more months to go; perhaps this year can redeem itself.

Truth be told, I don't think anything is going to top Pedestrian Verse.

You said it would be painless. It wasn't that at all.

Internet, what do you do when you're underwhelmed by one of your favorite band's new records?

I've listened to Trouble Will Find Me in its entirety twice. The first time I was incredibly underwhelmed but then again, I need to listen to music by myself with headphones on to really fall in love. Since buying it on Tuesday, I've listened to parts of it (I really think the first half of the record is strong, especially "I Should Live In Salt" and "Demons") and upon finishing a second listen, it's not as disappointing as I initially thought. Sure, it's not incredibly dynamic musically, and I think it's Matt Berninger's weakest records lyrically but it's pretty good. I am not blown away. Yet.

I think I can remember feeling this way about High Violet. The first few listens were met with a shrug but it was also released at the height of my love for The National (I saw them three times on their High Violet tour, and thanks to internet streams, watched a lot of their performances) so I kept trying. I was determined to love that record. And I did. I still listen to it. But this time around, I'm a lot less inclined to keep trying. And it makes me feel like a stick in the mud. Because everyone else LOVES it. Because the band is at the height of its popularity and Trouble Will Find Me is going to sell a boatload of records. Because my best friend clearly loves it already. I don't want to seem like I'm being contrary for the sake of being contrary. I've liked a lot of popular records in my day (see my top five from 2012, for example). The problem is that I think I have to retrain myself in how to listen to The National.

Does this make any sense to you?

I've been thinking about why I love The National. What is it about them that makes them one of my top five favorite bands? It's a mix of the urgency in the music and the no-holds-barred, not holding anything back, heart-on-his-sleeve lyrics. Matt Berninger's words always painted a picture of a man who was a mess but had enough charm for me to understand why someone would put him in a chair, fuck him, and make him a drink. I loved the anthemic quality of "Terrible Love" and "Fake Empire" and "England." I wanted to see Matt Berninger lose his shit on stage.

Trouble Will Find Me isn't anthemic at all (immediate? visceral? what was Aaron Dessner talking about?). There are some intricacies in the music, that's for sure but I want these songs to build and they don't. And they don't sneak up on you the way the tracks on Muchacho do. (At least not yet.) The problem is they all feel like they're going to build but they just crash and burn. I need a track or two to break up the musical monotony. Every song has the same mood (it's even worse than Boxer). It's not boring per say, I just need a mood changer or two. I need that "Squalor Victoria" or that "Brainy." And lyrically, this is a different National. I wondered if they had anything else to sing about (they seem pretty content in life) and after listening to the record, I'm not sure of the answer to that. I know this is a terrible reference but I keep thinking about the Pitchfork review of the latest Avett Brother record. I'm paraphrasing but they said something about how at this point in the band's lives, why would fans expect them to write a song like "Talk on Indolence" or "Paranoia in Bb Major?" And that's fine; you want your musicians to grow, right? And you want them to do well. And you can't fault them finding success and getting their shit together. But at this point in my life maybe I can't relate to five straight white dudes in or approaching their forties. I'm not saying you have to relate to musicians and their situations to enjoy their music but as music is so personal (for both the creators and the listeners), it certainly helps. Ask those Taylor Swift fans.

(Side Note: I'm over hating Taylor Swift. Do your thing, girl.)

Or this is all a consequence of listening to the extremely dynamic, incredibly anthemic, and the kings of no-holds-barred, not holding anything back, heart-on-their-sleeves lyrics, Frightened Rabbit. They do exactly what I want The National to do, just with more brogue.

Look, I'm not writing the record off yet. Maybe the songs come off better live? (I'll find out in about ten days.) Maybe they just have to grow on me. Maybe, come December, it'll end up on my list of my favorite records of the year.

Know which records I am loving this week? Jim James' Regions of Light and Sounds of God (is there a cooler, more talented, harder working man in music than Jim James? and a better voice?) and Majical Cloudz's Imposter. Devon Walsh's voice is magnificent, his lyrics are so strong, and it's minimalism done perfectly. Again, I'm referencing Pitchfork but I couldn't help but beam while reading the review of that record this week. Yes, it is gorgeous.

Top 10 Favorite Songs by The National

Did you read this list? Look, Stereogum, I tend to respect your content, and I think you're a great site. But what were you thinking with this list? (And as evident by the comments, a lot of people seem to agree with me.) I know these lists are subjective but I couldn't help but feel like this one was way, way off the mark. And it got me thinking about my favorite songs by The National. I've compiled my own list...

1. City Middle 

 I have weird memories of you
Wearing long red socks and red shoes
I have weird memories
I have weird memories of you
Pissing in a sink, I think
I have weird memories of you


2. The Geese of Beverly Road

 

We'll take ourselves out in the street
And wear the blood in our cheeks
Like red roses
We'll go from car to sleeping car
And whisper in their sleeping ears
We were here, we were here
We'll set off the geese of Beverly Road

3. Karen

 

Karen put me in a chair

Fuck me and make me a drink

I've lost direction and I'm past my peak 

I'm telling you this isn't me

No, this isn't me

Karen believe me you just haven't seen my good side yet

4. Fake Empire 

 

It's hard to keep track of you falling through the sky  

5. Slow Show

 

You know I dreamed about you for twenty-nine years before I saw you

6. England

 

Afraid of the house, stay the night with the cynics

7. Terrible Love 

 

It takes an ocean not to break

8. Runaway 

 

But I won't be no runaway
Cause I won't run
No, I won't be no runaway
What makes you think I'm enjoying being led to the flood?
We've got another thing coming undone
And it's taking us over

9. Cherry Tree 

 

Don't look at me
I'm only breathing
Don't look at me I'm indiscreet
Don't look at me
I'm only breathing
Don't look at me I'm indiscreet

10. All the Wine

I'm put together beautifully
Big wet bottle in my fist, big wet rose in my teeth
I'm perfect piece of ass
Like every Californian
So tall I take over the street, with high beams shining on my back
A wingspan unbelievable
I'm a festival, I'm a parade

This was pretty difficult to compile because I could've also added "Ada," "You've Done it Again, Virginia," and "Afraid of Everyone." Not to mention, I already love "Demons." And in a month, we'll have new songs that are going to come and fuck up this list.

And I hope they do.

Not heroic but I try.

My first memory of Glen Hansard was of him lying on his back on the stage of Beacon Theatre, singing "Star Star," in hopes that audience would get the idea of just what the song was about. And it was the last song of his set before Damien Rice took the stage, and although I was chomping at the bit for Rice to come on stage, I fell in love with Hansard and his music. Hansard has always had this incredible warmth and charisma on stage (and elsewhere, quite frankly) that makes it seem like his shows are rather intimate affairs, no matter how many people are in the crowd. He truly is a personality, gracious and humble and yet, a definite rock star (in a broad sense of the term). I've seen a lot of concerts, it's true, performed by a lot of very talented people who put on great shows, but I haven't found too many who have that special mix of talent and personality, all the while putting on a great, great show.

Until last night.

(And full disclosure, this is a pretty biased review. And if you've read this blog, you'd know that.)

Well, about three years ago I blindly went to see Frightened Rabbit. I barely listened to them, and I don't even think I knew what they looked like. I enjoyed them, certainly, but only as much as a person could possibly enjoy a band she doesn't listen to (except if they're The Felice Brothers, of course). They certainly didn't blow me away. Not like The Felice Brothers.

This time around was different, and look, I'm not going to get into details. We all know I've basically listened to only Frightened Rabbit in 2013. All I've heard was how great they are live (but let's be real, nobody's out there writing articles about bands saying, "eh, they're pretty disappointing live," even if I wish they were) and yet, I wasn't sold. I know this is a bizarre thing to say about one of your favorite bands but I can't quite figure out what it is about FR's music that makes them so fantastic. I can name about a half a dozen bands they remind me of but they're still so great. Something sets them apart from everyone else, I just can't put my finger on what. However, I wasn't so sure they could be an incredible live act. I was actually kind of expecting them to sound just as they do on their records.

Haha, Alyssa, you are silly.

And perhaps the fact I am so into them right now has something to do with how much I enjoyed last night's show but wow, were they impressive. They do an amazing job of really elevating their songs for a live setting (as evident by "Backwards Walk"). A carbon copy of the record, their live shows are not. Apparently last night was their biggest show ever (or in the US?) and the whole band seemed to be having a lot of fun on stage, looking really pleased to be there. If you're not having fun, why should we, right? And it's always really exciting to be in a crowd of people who seem to love the music as much as you, who sing every word to every song and seem genuinely happy to be there. (In the indie world, that's unfortunately a rarity.) I always talk about collectivity at shows and that's exactly what I felt last night. And not to get all sentimental but during "Acts of Man," which is THE song that made me go, "hey, this band is pretty great," I had what my friend called "a moment." During which I just had to stop singing along because I was like, "hey, what is going on? What is this? Emotion?" (And what a song to get emotional during, eh?) And I don't mean I was crying (I don't cry during concerts. Unless it's during "Thousands are Sailing.") But it has been a long, long time since I went to a show this good. That left me floating on air and incredibly happy. And what was better was the fact that the two people with whom I went, who weren't very big FR fans beforehand, left the show absolutely blown away.

What does this have to do with Glen Hansard?

Well, let's end this post with a conversation about Scott Hutchison. I've always thought he was a great lyricist and I've grown to really like his voice but after last night, we are talking Glen Hansard levels of respect and admiration. It is refreshing to see a frontman with as much personality as Hutchison. Look, I don't need you carrying on a fifteen minute monologue up there but you know, say something to the crowd, won't you (looking at you, Bejar). I find it alienating when an artist gets on stage, plays for an hour twenty, and mumbles his or her way off the stage. It definitely makes me not want to give him or her anymore of my money. But Hutchison definitely has personality and charm and he's loads of fun to watch. As I mentioned above, he looks like he's having a lot of fun up there (he also seemed very humbled by how big the crowd was), so you just can't help but having fun yourself. There are a lot of indie bands out there that do not have their shit together, that really have no business getting on stage (looking at you, DIIV), or simply just do not seem like they want to be on stage. A lot of bands out there are just kind of hyped by all of the blogs and actually kind of well, suck. And this is nothing new, and I'm not going to sit here and tell you you should stop listening to someone like Best Coast but it's always great to watch a band who can really perform and who actually deserves your hard earned money. 

I gave up listening to Andrew Bird for Lent. And I lived to talk about it.

As the title suggests, I did indeed give up listening to Andrew Bird for Lent.

I don't know why I did it. Mostly because well, I'm not religious. I am not a fan of the Catholic Church, or any organized religion, anymore, and haven't followed Church doctrine in it at least seven years. But because I like attention, I told everyone, "Guess what I'm giving up for Lent? Listening to Andrew Bird!"

I find it difficult to really get sick of Andrew Bird's music because there's so many layers, so many things to discover with every listen. I often binge on him, and get in these moods where all I want to listen to is live versions of "Lull." I may fall in love with other records by other artists every so often, and I've binged on other artists throughout the years but it always, always comes back to Bird. (Not to mention, the man has a lot of music. It's not difficult to not get sick of him.)

But other than a few "oh, I want to listen to [insert song title here]" thoughts as they came up on shuffle on my iPod, I can't say I really felt like I was missing something. And why? Well, Lent started on when, February 13? And Pedestrian Verse was released...when, February 5? I think we figured out why. I often joked that I do listen to artists other than Andrew Bird, I just don't like anyone else. Congratulations, Frightened Rabbit, I like you too. I realized it when I had a bit of a overly-dramatic moment, complete with tears, and thought, "I just want to listen to 'The Loneliness and The Scream' over and over again." Andrew Bird's music wasn't the only thing that could possibly make me feel better. I'm not sure if I've ever had that reaction to another artist. Anyway, thanks to those scruffy fellas from Scotland, I made it through Lent (with "Old Old Fashioned" in my head).

What else did I listen to over the forty days?

Did I mention how much I like Frightened Rabbit?

No, no, I'm kidding.

I re-discovered Frank Turner (not so much re-discovered but gave him another chance) who is not only a lyrical genius with a brilliant voice but he reminds me of The Pogues. And anyone who reminds me of The Pogues is fantastic in my book.

And who else?

Hum.

Well, I like the new Youth Lagoon record, even though I think it's incredibly long and the vocals aren't the most pleasant thing to listen to (but my opinion could change, i.e. Dan Bejar). I do like parts of the Phosphorescent record, and I like the new Cloud Cult too, even though I'm not blown away. I have a feeling I am going to really love it after I see them live but right now, it's tough to want to revisit it.

I actually attempted to listen to a bunch of other records, some of which I just turned off after a song or two. The one that sticks out most in my mind is the new Josh Ritter record. What a disappointment. I couldn't even get through it all on two separate listens. And he's one of my favorite songwriters. It got great reviews for the most part but I just found it so boring. Maybe in time I'll learn to really like it (even though it's not on Spotify, which is aggravating) but right now, it's not for me.

I don't think my inability to enjoy a lot of this new music has anything to do with my "WHEN CAN I LISTEN TO 'THE TWIST' AGAIN?" attitude. Or maybe it does. The real test is really whether or not I want to listen to Andrew Bird again. I listened to "Fitz and the Dizzyspellls" and "Souverian" this morning but I'm not clamoring to listen to all of Noble Beast. In fact, I'm currently listening to Liver! Lung! FR!

But knowing I can listen to "Anonanimal" again just makes me happy.

My beloved green iPod Nano, Geno, basically crapped out on me this week.

I had a feeling it was going to happen, especially since the back button had stopped working, but after five and a half years (which I am told made it ancient in the Apple world), it basically went to sleep and never woke up. Then it told me to connect to power, which I did, and then after it was charged, I couldn't turn it off. And that's where it stands now. Couldn't even pause a song.

(If you're wondering, "Anonanimal" was the most played track on it. The last song I listened to? "Backyard Skulls." I feel like there's some sort of poetry to those facts.)

These things happen, and although I basically grew to hate everything on it (I had been skipping through the 1100 songs on shuffle just so I could listen to "The Woodpile"), I am still pretty sad to see the little green guy go. Music is obviously important to me, and it's become the number one love in my life. And when I think back about all of the music that came and went on Geno, all of the obsessions I've had since 2007, I can't help but get nostalgic and just a little bit sad. This iPod is dead and I don't even have some of these songs anymore. I'll probably forget about some of them until they pop up on a Pandora station and I'll think, "oh, I haven't heard this song in forever." And wonder why I still don't listen to it.

So, I've been thinking back on all of the musical obsessions I had over the past five and a half years.

1. The Frames-I bought this iPod a day or so after I saw The Frames at Webster Hall. That was the best show I'd ever been to (until LCD Soundsystem at The Wellmont in 2010) and I was on such a Frames kick for a bit. Even though I don't listen to them much anymore (occasionally when they would pop up on my iPod), they're still my favorite band of all time. And Glen Hansard is a legend.

2. Tegan and Sara-I had been a pretty casual Tegan and Sara fan for a few years before The Con was released. And then The Con was released. Total obsession. Total need to consume all of their music. And boy, did I listen to a lot of them in 2007. Even saw them live (and it's one of my favorite shows to this day). I cooled off on them around the time of Sainthood (we can all agree it wasn't as good of a record, right?) and although I still adore them, and LOVE Heartthrob, I've been priced out of seeing them live and they're so popular, they're being covered on Glee.

3. Andrew Bird-It's a fierce and eternal love. Just ask my arm. But in all seriousness, there was an obscene amount of Birdman on my iPod.

4. The National-I secretly give The National a lot of shit, simply because their live shows just aren't there  but in 2010, they were my everything when it came to music. I'd be lying if I didn't say Matt Berninger's lyrics didn't have an impact on me, and The National are special because even though I've shared a bunch of my bands with her, they're the band I truly share with my best friend. And is there a better feeling than someone telling you, "You know that band you like? I like them too?"

5. LCD Soundsystem-As mentioned above, seeing LCD live was not only my favorite concert-going moment but a revelation. James Murphy is a god. The second-half of 2010 was dominated by LCD Soundsystem. Sadly, I find that their music doesn't hold up too well on repeat listens. But it's oh, so good.

6. Destroyer-I was pretty anti-Bejar until the release of Kapputt in 2011. I couldn't stand his voice. But then, I saw the light (and come on, that is a fucking incredible record). Wanna talk about lyrical geniuses. I binged on Destroyer for the first half of 2011 (I cooled off around the time I saw them live, which was a bizarre experience) but I am still prepared to lead the Cult of Bejar. I mean, have you heard a song better than "Bay of Pigs?"

7. Frightened Rabbit-Ah, Frightened Rabbit. I. Love. Frightened. Rabbit. Like it is an intense love, and I'll no doubt burn out on them in another month or so. But for now, I shall bask in how great I think they are. I mean, the other night I christened them my third favorite band. Of all time. A little premature, huh? Well, we'll see where this one takes us.

And you know, there was Japandroids and Beach House and Feist and Beirut and Bon Iver and The Avett Brothers and Devendra Banhart and so many other bands and artists that I obsessed over for a few weeks. So many phases, so many memories, all on one iPod.   

I filled up, or attempted to fill up, my new iPod and only managed to find 329 songs I wanted on it. That's a pretty drastic difference. But now that I think about it, it just means that I have to find new songs to make memories. Those other songs belong to the last five and a half years of my life.

Except "The Woodpile."     

I really fucked it up this time, didn't I my dear?

Can we talk about earnestness for a moment?

Yes, this is in response to that Stereogum article. Which upon my first reading of it, I felt a little too defensive about Frightened Rabbit. With a second reading, I realized that the whole damn thing was so dumb. If I had to compare Frightened Rabbit to someone else, which I HATE doing (in general, not just with FR), I would never, ever put Mumford and Sons on the list. And not just because I think that FR's music is way more complex than Mumford's (i.e. FR's songs don't all have the same damn structure, and they don't all sound the same) or because Scott Hutchison's lyrics are pretty amazing, whereas Marcus Mumford's are well, let's all face it, they are trite bullshit ("there's no drink or drug I've tried to rid the curse of these lover's eyes?" Jesus Christ. I can see Mumford's rhymes from a mile away) but because they honestly don't sound the same. Sure, FR employs some of the same folk influence as Mumford, but why even put the two bands in conversation with each other? Because they're all a bunch of white dudes from the UK? It's not even fair. Let's stop doing it. And let's also stop acting like all bands want to be Mumford and Sons. Sure, they are the biggest band in the world right now but do you really think a band like oh, I don't know, Calexico, want to be Mumford and Sons? Maybe they want their success, sure, but it's ridiculous to act as though Joey Burns is bemoaning the fact he didn't write a song like "Little Lion Man."

(Side Note: I didn't use FR and Scott Hutchison for this analogy because I think we all know that he does not wish he wrote "Little Lion Man.")

Anywho, the Stereogum article sort of came off as the writer just well, bemoaning the fact that a lot of people like Mumford and Sons, and not enough people know about FR. And yes, it is aggravating. But the article also brought up the idea of earnestness, and what makes FR more earnest than a band like Mumford, or The Lumineers, or The Avett Brothers. Well, for one, those three bands, a long with Edward Sharpe, Ray LaMontagne, etc. present a sort of aesthetic that for me, seems forced. And it seems forced for the simple fact that I came up with a list of five acts off the top of my head that are subscribing to it (and I can certainly come up with a few more). And look at the last American Idol winner; sure, Phillip Phillips has a nice voice, and I do like that song "Home" but there is nothing more manufactured than an American Idol winner. And someone manufactured him into a Mumford and Sons clone. And I can be realistic, and I realize that something like "I Will Wait" or "Ho Hey" or "Home" (I mean that Edward Sharpe song) is a lot easier and more fun to sing along to than say, "Keep Yourself Warm" or "The Woodpile." Those other songs are jauntier, they are bouncy, you can clap your hands and stomp your feet and I'm sure people feel good about themselves after dancing/singing along to it at a concert. Sure, "Old Old Fashioned" and "Swim Until You Can't See Land" and "Holy" are incredibly catchy too, but maybe mainstream audiences don't want to sing along to lyrics that are abrasive, and self-deprecating, and kind of dark and angry. People like fun music (as evident on people's Facebook profiles). And can we all agree that Hutchison's lyrics are far denser than "I belong with you, you belong with me in my sweet heart" or "I will wait, I will wait for you" or "home, let me go home, home is wherever I'm with you?" His lyrics are the best thing about his band, and I am practically insulted that Stereogum is comparing that lyric from "Acts of Man" to that ridiculous one from "Little Lion Man." The bottom line is people like catchy ear worms, not something they have to devote actual attention to in order to fully appreciate.

So, why do so many people think "I really fucked it up this time, didn't I my dear" is disingenuous? I mean, I realize that I never question Hutchison's genuineness. Or his earnestness. Maybe because his lyrics are so honest and self-deprecating and most likely kind of off-putting to people (perhaps we have an answer to why FR isn't bigger than they are) and they never seem forced. Sure, they are a downer sometimes ("I'm dying to tell you that I'm dying," anyone?) but I've always accepted them as genuine. Because you can't force something like "let's pretend I'm attractive and then you won't mind." But what about those Mumford lyrics? Why don't people buy it? Why do they come off as though some child just learned to use swear words (albeit quite poorly)?  I don't have the answer to those questions. Perhaps it has to do with that aesthetic I was talking about earlier. If their sound and image come off as forced, then anything they present in their lyrics is going to feel forced too. Or perhaps its their popularity. It's harder to find genuineness and earnestness and something like self-deprecation in music that is enjoyed by the masses. Why even attempt to be genuine when you're making millions? What's the point? People like Mumford's sound, and do you think all of those people filling up arenas to see them give a shit about what they're singing along to? These are the people who made "Gangnam Style" a major, obnoxious, hit. I'm not saying Marcus Mumford isn't trying to be genuine but it's easier to accept he isn't than accept he is.

I guess the point is it's not hard to figure out why Mumford and Sons is popular. Or why there are so many bands trying to capitalize on their success. But we can keep scratching our heads as to why Frightened Rabbit aren't more popular. They just...aren't. But I think we can all agree that there is no reason why something like "The Woodpile" or "Backyard Skulls" couldn't be part of the public consciousness.

Or we all go back to listening to Frightened Rabbit and enjoying them and let everyone else listen to Mumford and Sons. Do you really want FR to become insufferable, annoying twats?

(Also, can we stop talking about The Winter of Mixed Drinks as though it is the worst album to ever be released? Because it's not. Because if you gave it to someone to listen to before he or she ever listened to The Midnight Organ Fight, which is what happened to me, he or she would probably really enjoy it. Even think it was great. On it's own, it's a strong album. Sure, a bit sanitized but "The Loneliness and the Scream," "Things," "Skip the Youth" are all great songs. Maybe the generalities of the lyrics didn't work, and maybe it feels a bit too produced but c'mon. Stop shitting all over it.)