Words from the label:
"The Native Cats' debut 7" is a masterful work of minimalist pop. Drum machine and bass guitar glide a sneering yet sensual vocal through tales of noir and intrigue. Somewhere between Young Marble Giants, Arab Strap and Joy Division do The Native Cats lie in wait. Most certainly Tasmania's finest export since the devil." - White Denim
Format: 7" vinyl record. 33rpm. Includes mp3 download.
Year of release: 2010
Label: White Denim (#16)
City / Country: Hobart, Australia
"Hobart duo Peter Escott and Julian Teakle realise that their minimalist post punk is probably not going to be for everyone. Though not by choice it’s interesting that their first gig two years ago was on Australia Day when most of the country was tuning into triple j’s Hottest 100. Interestingly, its taken a label in Philadelphia to release this 7” single, which features two previously unreleased tracks. With just vocals, bass, drum machine and the odd keyboard, the pair play a barebones punk with sparse arrangements that illuminate Teakle’s rumbling bass and Escott’s fidgety sing/talk/croon. Like Falkirk’s finest sons Arab Strap, The Native Cats sing about the neuroses of life and love. Neuroses that are exacerbated by living in a small city; of knowing that you know everybody else in town that plays a guitar, or that you can’t find good coffee anywhere on a Sunday afternoon. Escott is a lyricist in the truest sense. Some would say a better lyricist than a vocalist. Mind you, the lyrics are abstract and at times cryptic, but you get the sense listening to these two songs that he could be a “writing notes while on public transport” kind of guy. When he sings/talks, “My connections made me and betrayed me once again”, over Teakle’s throbbing dark bass line on ‘Catspaw’, it sounds like it’s emanating from a guy emerging from the shadows to confront the schoolyard bully or chat to the hottest girl at school. Laying his feelings on the line, he will most likely still get punched by the bully or spurned by the girl, but when he sings, “Pull me out of the fire/I’m near enough to burning”, it feels like he’s still a winner. ‘Lemon Juice’ again utilises Teakle’s morose hypnotic bass over a vintage Casiotone drum machine and Escott’s near out-of-tune rantings and downcast romanticism. Escott has said it’s a “cluster of grown ideas; that’s why it’s the B-side.” But B-side or not, like ‘Catspaw’, it makes for a mighty good song." - Mess & Noise