Over the course of a short and impressive career, White Rabbits have made their name by challenging expectations. Columbia natives based in Brooklyn, they’ve surprisingly shifted their sound through each release and managed a consistent melodic flair, gaining confidence along the way. Their debut, _Fort Nightly_, was a solid blend of early Talking Heads new wave and indie pop, but it was their sophomore effort, _It’s Frightening_, that demanded attention. Partnering with Spoon frontman Britt Daniel revealed all the band’s strengths: real percussive ingenuity with two drummers, a knack for carefully placed hooks and a certain sparseness that lets the tunes breathe while staying tight. If anything, the final product was too similar too Spoon, with the rhythmic, un-elaborate tracks and sawdusty vocals reminiscent of the Austin stalwarts. But there was uniqueness and distinction to be found everywhere on _It’s Frightening_, a fact startlingly clear on the band’s latest release, _Milk Famous_.
It’s a surprisingly radical shift in sound, produced by Spoon producer Mike McCarthy, but otherwise absent from Spoon’s precise and clean universe. This sonic landscape is strange and slightly sinister; muted pianos and bleached-out vocals float about through splintery guitar interruptions, and the tracks are just cunningly varied enough to create a genuine consistency to the entire album — a rarity. The songwriting approach here is compositionally loose but instrumentally tight, and the wooziness of that contrast combined with the group’s aforementioned adroitness at hooks makes for a subtle and extremely rewarding listening experience.
The template is set from the start: the opener “Heavy Metal” mixes in supple basswork with a cross stream of double percussion work, one pounding and one tittering to slyly draw in the listener. Varying piano and swelling guitar lines add to the effect, and already White Rabbits have proven their strength: simultaneously drawing you in while adding texture to the track. The double percussion element is key here; members Matthew Clark and Jamie Levinson add drive and intrigue to what otherwise might have simply been dreamy mood pieces. “Danny Come Inside” is upbeat with percussion tracks that refuse to stay in the same place and take a static melody away in a hurry while “Back for More” has splashes of tropic rhythms and tangy guitar fills to give this strange, muted world a bit of a kick.
Singer Stephen Patterson is a revelation here too. His vocal work was already distinct: charming and slightly dry to complement the sparse compositions. But here it’s surprisingly beautiful, engraining itself into the soundscapes to be equally bleached out and haunting. It’s best seen in _Milk Famous_’ highlight, “Hold It to the Fire.” Over guitar drone and his own abstract piano glides, he sings in a sweet, muted tone that actually adds a touch of unease to the piece, and it works perfectly. Elsewhere his work is even less showy, but when it stands out the mood is instantly reenergized. “It’s Temporary” is grounded by his performance, equal parts airy and menacing, and lifts a track full of engaging tricks, from slithery keyboard lines to see-sawing guitar whines. And “I Had It Coming” sees his voice fuzzed out and digitally heightened while keeping the closing track’s lilting tone in check (a rarity on this album, where acoustic work is infrequent).
With the exception of that track, _Milk Famous_ is startlingly consistent in its tone, comprising mostly of various mid-tempo tracks where the band can melodically noodle around while maintaining a wandering, ghostly atmosphere. “It’s Frightening” has clattery piano work; “Are You Free” tubular, sparse guitar lines; and “The Day You Won the War” off-balance organ fills. All of these seemingly unbalanced sounds create an atmosphere that’s shifting and flowing, and the sonic space here seems melodically lived in and explored, however unstable it sounds on the surface. This consistency is ironically _Milk Famous’_ biggest issue: the unique sound here is so intriguing and compelling it is never challenged to true heights.
But why should it? This is White Rabbit’s first effort in this vein and might very well be their last. For a sound to be this unique and engaging from the onset is remarkable, and is a surprisingly bold and refreshing shift by a band already known for doing so. It’s uniqueness is commendable and — for fans of mixing the offbeat with the melodic — a must.