Send "Pepper Rabbit " Ringtones to your Cell 
| Popmatters |
 There are a lot of rabbits in the industry right now: White Rabbits, Frightened Rabbit, Rabbits Rabbits Rabbits. And now there’s Pepper Rabbit, the Los Angeles folk-pop duo of Xander Singh and Luc Laurent that walks in the minimalist footsteps rock laid this last decade. Together, they join the sudden onslaught of electronica-infused duos (Best Coast, Phantogram, Wye Oak, Sleigh Bells) that have become increasingly popular this year, with the majority of their sophomore effort comprised of Macbook-processed guitar and keyboards layered over synth drums. And although I realize there’s no other way for a duo to maintain a full sound without the help of beat machines (unless you’re Dan Auerbach or Jack White), am I not wrong to also think it’s a bit too much of overkill at this point?It’s not that Pepper Rabbit are subpar based strictly on the current over-saturation of two-man bands, but more so that Singh and Laurent fall into that middle-of-the-pack area at which most projects in indie rock seem to flat line today: catchy first track, poppy single, maybe a track that got sent to Friday Night Lights or Vampire Diaries, but nothing steadfast beyond that. Like their other rabbit friends, Pepper Rabbit will have you enticed to buy their album after hearing the first four tracks on Spotify (like I did with Frightened Rabbit’s The Winter of Mixed Drinks and White Rabbits’ It’s Frightening), but after four or five listens and a likely burnout of select songs, my guess is you’ll find yourself digging for something new. The height of Pepper Rabbit’s popularity rests in the voice of Xander Singh, which sounds more often than not akin to Vampire Weekend’s Ezra Koenig and at other times the Shins’ James Mercer. In light of the fact that both those bands are some of the biggest names in indie rock as of late, this wouldn’t seem like such a bad thing, but the problem for Singh lies in how definitive those two voices are today. Resembling them is like resembling Eddie Vedder; you can’t mistake them so much to the point that when you do, you can’t help but reject the band you’re actually hearing. It’s a double-edged sword considering most singers can’t help the voice they’ve been given, but Pepper Rabbit even channel on this album the same basic, production flourish-kissed pop that the Shins and Vampire Weekend achieve so brilliantly, so the correlation is all the more critically severe. In essence, Singh and Laurent merely make me wonder what Koenig and Mercer would have brought to the table on Red Velvet Snowball....full text |
| Obscuresound |
| The last track on Pepper Rabbit’s new album, Red Velvet Snow Ball, is a great example of the duo’s strengths. “Tiny Fingers” is lush and exotic, with sounds of broken sitars, brass, and wind chimes backing a gentle acoustic strum. Like everything on Red Velvet Snow Ball, it would be the perfect accompaniment to a day of greenery – lying in the green grass, staring at the green trees swaying above you, and perhaps indulging in something that would make the sky appear green. Pepper Rabbit produce songs that excel with a similarly breezy nonchalance, alert enough to cohesively execute layers of gorgeous arrangement but lost enough to become intoxicated by the hypnotic sound – which alternates from boisterously anthemic psych-rock to luxuriant piano-driven pop. It’s an album that finds Pepper Rabbit expanding their strengths toward their most unified effort to date. On “Rose Mary Stretch” a gentle acoustic guitar delivers a simple and appealing set of quarter notes, which creates a rippling effect pronounced by the xylophone-like synths. The explosive chorus that follows is hardly unpredictable or breathtaking, but provides an enjoyable moment that is best performed during its last instance – when well-executed percussion builds up in perfect alignment with singer Xander Singh’s nasally anthem-ready voice. It’s an accessible song, though certainly one of the tamest on Red Velvet Snow Ball in terms of experimentation and mood. Pepper Rabbit are not the type to stretch their legs out and produce lengthy experimental jams; rarely are their songs over four minutes. However, while remaining in psychedelia they focus on several interpretations of the style – most often implementing contemporary elements of electronic-pop akin to groups like The Helio Sequence, Metronomy, and French Kicks. They tout electronic influences, but never let them overpower the firmly entrenched psychedelic-rock flair....full text |
| Consequenceofsound |
| “I want it all/And you will know my name, dear Allison,” Xander Singh triumphantly sings atop a bed of swirling psychedelia and pulsating keys on “Allison”, a punchy track from Pepper Rabbit‘s sophomore LP, Red Velvet Snow Ball. Well, with a surprisingly confident vocal performance and a taste for all things whimsical, not only will Allison know his name, but, inevitably and imminently, the world of indie pop music won’t be able to avoid it. While the Los Angeles by-way-of New Orleans duo of Xander Singh and Luc Laurent’s 2010 debut, Beauregard, was a commendable demonstration of enchanting-yet-haunting, atmospheric pop, Red Velvet Snow Ball is not only an emphatic declaration of who Pepper Rabbit has evolved into as a band but also a jubilant collection of songs whose immaculate composition and undeniable charm demand, and deserve, attention. It’s nearly impossible to discuss Pepper Rabbit’s music without using the word lush, as their soundscapes complete with seemingly dozens of layers really know how to entrance a listener. Beauregard‘s “Red Wine” and “Snowalker” epitomized this, combining innumerable instruments into a swirl of divine atmospherics. That incredibly rich depth makes a happy return as a cornerstone of Red Velvet, but Singh and Laurent up the ante–in both the number of instruments and a fresh, adventurous approach to the sound. Singh took it upon himself to learn a slew of instruments through self-instruction and YouTube videos, and the effort allowed each track of Red Velvet to take its own course, each featuring a different combination of synths, ukuleles, horns, and so forth. It’s never excessive, though, as Singh and Laurent make sure to achieve a perfect balance in the instrument mixing: While spunky single “Rose Mary Stretch”‘s percussion and acoustic strumming ground an explosion of carnival-esque whimsy on the chorus, “In Search of Simon Burch”‘s woozy synths take its respective spotlight. Although the most audible change between Beauregard and Red Velvet is the newfound immediacy of the instrumentation and the explosive collaborative spirit, Singh’s refreshingly strong vocal performance is equally as important. His demeanor is notably more confident, the new prowess allowing tracks such as standout “The Annexation of Puerto Rico” that feature soaring, prominent vocals to work. He isn’t hiding behind layer upon layer of synths and swirls, and while his voice is not the strongest, Singh’s wails are likable and human. Squeals on “Rose Mary Stretch” and delicate harmonies on “The Ballad of Alessandro Moreschi” better what were already compelling, textured songs. Lyrically, the content leans toward the dark and haunting, discussing murder and doomed, mundane small-town futures. It’s an interesting contrast to the levity and grace of the music but ultimately adds weight as complex as the music it accompanies....full text |
Pepper Rabbit lyrics
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