I know what it is about this band that makes them so gosh-darn infectious: multiple drummers. When the Brooklyn-based indie rockers’ dual-threat percussion section gets spooled up, an indefatigable energy pulses through the song.
Yes, they do play slower songs than "Percussion Gun," with less driving drums. But the additional percussive elements play a strong role in the overall sound, offering a diversity of timbres from the drum set to rumbling toms and cymbals (on some tracks played by a third band member!). Even the keyboard sounds at times more like a pitched mallet instrument, and together they all convey a sense of fervent motion. This is music for movement.
This will no doubt translate to a wicked live performance, and at a time (2:30 p.m. on Sunday) in the line-up where Lolla weekend warriors just might find themselves in a bit of an afternoon slump. Fortunately, the Rabbits are already renowned for consistently delivering high-energy gigs, having built up a touring resume that includes stints with The Walkmen, Spoon, and Interpol. They should be like Red Bull for your ears.
I wonder where the wings would come out...
If I had to voice one grievance with this track, it would be that it finished too soon. Three and a half minutes is too short to fully enjoy such a great beat as they’ve established here. It’s like when Paul Simon's "The Obvious Child" finally arrives at the booming climax that’s been building throughout the song, only to fade away after a precious few blissed-out bars:
Drum beats aren’t forever, I know. And their limited existence in circumstances such as these does make them more special, I guess. But man, wouldn’t you love to see Paul’s army of drummers here just go nuts for a couple of hours straight? I imagine the White Rabbits were there for this concert in NYC, and I imagine they were begging for the same thing.
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