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:: Native Cats - Dallas lp (Ride the Snake/R.I.P. Society)
Native Cats - Dallas lp (Ride the Snake/R.I.P. Society)
" I'm liking Native Cats more and more with each new record - their tracks on the split with UV Race were their best to date in my mind - and 'Dallas' continues the upward trend. For whatever reason I never enjoyed their first LP and was on the fence about 'Process Praise' - and I don't really think they're doing things that much different now, but 'Dallas' feels like their most accessible record thus far. Julian Teakle's bass playing and talked vocals create a solemn and straight-laced atmosphere that is somehwat downtrodden or even doubtful and anxious about life, but not really at all depressing. It's observational, conversational and questioning, but never sad - and there's some irony in there somewhere, but it's never obnoxious. Peter Escott's electronics add the emotional context to Teakle's protagonist. Crappy sounding Nintendo bloops, Eighties keyboard moves, crisp drum machines, even some lo-fi techno beats, all things that add color to the bass framing. They open at their most minimal, with the bass/vox only "Pane e Acqua" which is a great tune itself, but should also get you in the mindset to realize you're listening to one of those rare bands whose lyrics you should really pay attention to (and in another rare case, you can actually make them out clearly throughout the record). "I Remember Everyone" could be the song that becomes their "hit". "Cavalier" almost sounds schticky with its fancy New Wave electric piano lushness, but the lyrics paint a more serious picture. "Mohawk-Motif" closes out the record with class - post-punk bassline, dubby reverb effects, some exotic sounding percussion, biting lyrics - there's something PIL-like to it all. One of those songs that's ten minutes-plus but you could still listen to the rhythm on loop forever and get lost. When I realized there's only seven songs on this LP I thought they were going to be stretching some tunes pretty thin, but every track is is timed and sequenced perfectly. No easy feat, especially considering the emotional and aesthetic depth of the music involved (which again is illusory in a way - a duo with only bass and electronics convey these complexities?). A fantastic record, and one that's very well considered and deep in its ideas, something the press release (and goofy press photos) seems to try and downplay or hide - or maybe I'm just taking it too seriously? Either way, if you only buy one record from a Tasmanian band this year...US edition on RTS, AUS version through RIP Society, both are equally essential." - TERMINAL BOREDOM (RK)
"Since 2007, JULIAN TEAKLE and PETER ESCOTT have been operating musically from their home city of Hobart, Tasmania, under the name of the NATIVE CATS; if not “working together" as such, then at least each asking the other’s permission before adding something to a song, and generally moving towards a roughly common goal. Now, with the release of their third album, Dallas, the Native Cats’ grand plan is becoming clear: big shifts within a very small space. The band’s job description remains the same as it has always been Teakle plays bass, Escott sings and operates only the most user friendly electronics, and all the pieces are cryptically aligned in sympathy with your complicated troubles or steady anxiety but thanks to some adventurous songwriting, a criminally underrated Nintendo synthesiser, and a recent inspiring tour of noted musical hotspot the United States of America, Dallas is a unique and unusual beast. The Native Cats may have started out as something of a lo-fi minimalist muck-about, but with Dallas they are deep into something powerful and strange, something nobody knew they wanted until it was standing right in front of them, holding a bass and a portable video game console, sending the inner world to the outer world"
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This product was added to our catalog on Friday 05 July, 2013.
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