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Artist: Catch 22
Genre: Rock
Latest Album: Catch 22 Live
Background:
New Jersey ska-punk combo Catch 22 was formed in the autumn of 1996 by a disgruntled sixteen year old record store employee who opened another box of Offspring records and dreamt of the day he would start his own band. The scene in New Jersey was alive but stagnant, and the young Kevin Gunther was determined to bring something new and refreshing to the world of punk rock. Teaming up with an assorted group of local musicians, Catch 22 formed with the hopes of creating something that would inject some new life into the scene.
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About Catch 22
Catch 22's first full-length CD “Hardoncity” was out on the Opsound Label. The CD in its unusual inside-out packaging features a fold-out hand-silkscreened poster designed by band member Hayes Shanesy. Always restless, the Catalpa sound moves from unapologetic beauty to storms of noise with a sure hand for melody and development. Among the shimmering washes, pop riffs, and throbbing drones are wolf howls, lawn sprinklers blending into rhythms, recordings of friends talking. Feedback and distortion are manipulated like instruments, exploring the full range from delicate, almost singing sounds to crashing waves of loudness.
“Hardoncity” is the first CD release from Opsound, a label/collective/online artist resource center founded by New York-based artist Sal Randolph. Eschewing copyright and licensing red tape. “ It's fitting that Catch 22 gets the first "official" release from the Electronic/Experimental imprint. The Cincinnati duo of Hayes Shanesy and Justin Stewart cut up and manipulate noise, actual instruments, beats and samples to create magnetic mood music. But the re-pasting is far from random. CC's collaging has purpose, as the twosome constructs a textural flow that rotates between gushing currents of exquisite, airy ambiance and more erratic beat-craziness. A mix of studied Post Rock elegance ("I Know, Right"), vocal-less Indie Pop ("Kid Shit") and gltichy electronic tweakiness ("Debbiedrone"), the end result is disorientingly dynamic, spacious and occasionally jarring. But there's also much fluidity, as the sounds on tracks like "Mummy" oscillate hypnotically, drawing your ears closer with each repeated listen.
The duo does go more extreme at times -- the cicada-beat-driven "Wax Lips" has a winding song structure befitting a Jazz arrangement, while "Kronk & Scaggs" is an overdriven, fuzzy whirl of noise that resembles the gear-grinding roar of a 50-year-old muffler-less motorbike. Apathetic music fans not up for anything more challenging than a Postal Service record might not stand for CC's roguish multiplicity, but those who appreciate more progressive and creative explorations of sound will rejoice.