Where San Fermin felt like an ornate masterpiece intricately assembled in a lab somewhere, Jackrabbit has the sound of amplified confidence and enhanced group playing that comes from nightly live performance.
Jackrabbit isn't as smooth as its older brother: it's a heavier record, and demands more from the listener.
His predilection for marrying sublime pop melodies to bombastic arrangements laced with classical avant-garde flourishes has reached a new level of focus, and, resultantly, potency, on Jackrabbit.
While Jackrabbit is a strong entry into the chamber pop genre, it is almost too pretty for its own good.
Jackrabbit is still a potent and evocative listening experience, even if it strongly recalls memories of even more potent and evocative listening experiences by other bands.
The wearying volume of Jackrabbit is the most taxing aspect of a record that already arrives intentionally overstuffed.
This is another album I'm very biased about cus I used to be obsessed with it. Yes it's probably too ambitious but the songs are all fantastic, it could do with more witty but it just bangs too much for to mark it down...
There's a perfect balance between beautiful moments and wild anarchy, Two Scenes and Billy Bibbit are the best way to end any album aswell...
The Woods - 8/10
Ladies Mary - 8/10
Emily - 9/10
Jackrabbit - 9/10
Astronaut - 10/10
Philosopher - 8.5/10
Woman In Red - ... read more
Reviewing San Fermin albums can so quickly descend into spotting the influence, and to be fair, the band makes this approach awfully easy — are we totally sure that Allen Tate isn’t actually Matt Berninger under a pseudonym? But I have a soft spot for San Fermin and loved their debut, and there’s really something to be said about a group of talented musicians coming together and absolutely throw themselves into a project, holding nothing back. “Jackrabbit” has ... read more
#51 | / | Under the Radar |