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Cashmere Cat

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The internet, quite frankly, has enough cats. Yes, your cat is very cute. Yes, it makes a funny expression when you walk into a room, like Zooey Deschanel seconds after being told, bluntly and without any sugar-coating, just how lung-bustingly awful She & Him really are. Yes, you have the ability to post a picture of your moggy on Tumblr along with an intentionally mispellt caption about fast food that will bring joy and delight to all, but in really we’ve probably reached cat saturation point.

Well, maybe we can squeeze in one more. Cashmere Cat, the Norwegian producer who refers to himself as a “forest cat” (they’re the ones with tails like hairy feather dusters), absolutely wowed the crowd at last week’s Eurosonic festival. An industry event where gig audiences are usually of the static, chin-stroking variety, our spy reported that people “went absolutely nuts” to the his frisky beats.

Cashmere Cat, real name Magnus August Høiberg, is a former DMC finalist (which basically means he can do things with a pair of decks that would melt your brain) who has previously dabbled in disco and house under different aliases. His feline moniker has come to prominence following a series of high profile remixes for artists like Lana Del Ray, Drake and Chad Valley, and for good reason; he’s producing some of the crispest, cleanest and most fun beats going.

His debut EP, “Mirror Maru” (a maru is, inevitably, a type of cat), came out towards the end of last year and won him still more fans. Full of playful hooks and upbeat rhythms, with elements of trap music dotted about, the piano riff of its title track swings between legato and staccato in a way that indicates a deft musical touch. Other tracks, such as the sparkly ‘Kiss Kiss’, sound like cartoon spaceships taking off, carrying crews of Japanese astro-crabs made out of rainbow jelly (the kind of imagery his music tends to put in your head).

He has revealed Kanye West’s “808s & Heartbreak” as a key influence, even admitting that “a lot of the time I feel like my music sounds like a bad rip-off”. He’s doing himself a disservice. He may be planning to perform in a cat costume, his Twitter may mostly be about cats too, but in Cashmere Cat’s case the internet can handle one more mog. Just one, mind.

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ERAAS

ERAAS
If the return of Godspeed You! Black Emperor last year reminded us anything, it was just how extravagant post-rock can be. Never exactly the most restrained of bands, whether you find their more grandiose tendencies pompous or exhilerating is a matter of taste. What is undeniable is that, compared to your average indie 4-piece, organising rehearsals, song-writing sessions, recording slots and tours must be a bloody nightmare. That seems to have been the conclusion ERAAS came to. Robert Toher and Austin Stawiarz were formerly both members of Apse, a Connecticut post-rock act signed to ATP Recordings, before coming to the conclusion that having six members in a band was more trouble than it was worth. As Toher puts it, "we had put out kind of a shit album that got bad reviews, and it was the kind of album that, I thought, had too many different hands in the pot". He started writing music alone, aiming to strip the bombast from Apse's music and make something more minimal, before getting Stawiarz on board. The results are encouraging. Their eponymous debut album (which you can stream in its entirety above) was released last year, and was full of richly dark music that never spooned more than what was necessary onto your plate. Whether it was chanting over eastern scales like an electronic OM on 'Skinning' or mixing clicky rhythms with brooding bass in a Bauhaus style on 'Briar Path', they proved that sometimes you can achieve more by doing less. Admittedly, the occult vibes can sometimes feel a bit tacked on (the hooded drummers and brandished knives on their new video for 'Ghost', below, are a case in point), on tracks like 'A Presence' they manage to sound like The Soft Moon if they kicked their irritating eighties fixation, or a less featureless Factory Floor. And while the video for 'Ghost' may be overkill, the track itself is delicious - seductive, sinister and darkly cinematic, its pitched somewhere between Joy Division and a nodding out Birthday Party, only with a much smoother sheen than that suggests. When playing live they expand to a four-piece so as to avoid having to play to backing tracks - one of Toher's pet hates. "I feel like 75% of the bands we play with play to a pro tools backing track that comprises half of their stage sound. It's a shame," he states. He may have gone minimal, but he doesn't want to skimp on the essentials. Judging by their debut, which too many (including us) slept on in 2012, ERAAS' next album could well be an essential you won't want to neglect either.
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