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Scots caught in fame's headlights E-mail
Written by Ciaran Ryan   
Wednesday, 14 May 2008
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Scots caught in fame's headlights
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The fantastically named Frightened Rabbit haven’t hit the big time just yet; if they had, surely they would be chauffer-driven around in a stretch Hummer, like a scene straight out of ‘Cribs’.

Instead, frontman Scott Hutchinson is at the steering wheel, with the not-so-envious task of negotiating London traffic. So, brother and Frightened Rabbit’s percussive powerhouse Grant Hutchinson instead fields the ‘Limerick Independent’ call.

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Scottish band Frightened Rabbit contemplate a life under the microscope

Hailing from the small Scottish town of Selkirk, Scott Hutchinson decamped to Glasgow. Grant soon followed, adding drums in the process to Scott’s batch of new songs in 2004. Billy Kennedy joined the line-up two years later on guitar and keys, with bassist Andy Monaghan the most recent addition.

Yet, Frightened Rabbit is still something of a family affair, and Grant admits that his father has taken a keen interest: “He keep up with everything online. As soon as there is something new written about the album, he is on to us straight away. He has nothing else to do anyway, because he is retired!”

Mr and Mrs Hutchinson played in “some hippie folk clubs” in their day, and remain supportive of their boys’ musical endeavours. The second full-length for Frightened Rabbit, ‘Midnight Organ Fight’, has just hit shelves.

Its juxtaposition of pop melodies, hushed folk textures, and its ability to give it a bit of welly when needs be, has seen ‘Midnight Organ Fight’ receive plaudits all round. Well, almost: “I’ve only seen one or two bad things written about it; this one guy said something ridiculous like that we needed to explore our musical boundaries more or something. At the same time, I was sort of glad because it turned out he was a big Simply Red fan,” confesses Grant.

Frightened Rabbit thankfully don’t sound like Mick Hucknall’s mob: Scott’s distinctive brogue has a Scottish edge, while there are times when they could remind one of US bands like The National. Strangely, Grant hadn’t even heard of them, until they started to work with one Peter Katis, who was also The National’s producer.

“He is old friends with the label manager in the States. He had done stuff with Mercury Rev, and I thought those first two Interpol records were great. When you listening to albums he has produced, you can tell he has a definite style. Peter really has a lot of great ideas, and basically, he is a big geek:  he has collected all these microphones and compressors over the years.”



 
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