Black Cat Revival (formerly Wigglepussy, Indiana)
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Black Cat Revival (formerly Wigglepussy, Indiana)

Band Alternative Avant-garde


This band has not uploaded any videos
This band has not uploaded any videos


The best kept secret in music


"12.25.03 Life At The Gallows album review"

If Wigglepussy is a place, it's probably not in Indiana. Mars is more like it. The Columbus band with the strange name is like the Bizarro World version of another local band with a strange name, Rancid Yak Butter Tea Party. Both are experimental and disjointed, but these guys replace Rancid Yak's sinister skronk with a keen sense of histrionic melodrama and a touch of pop that makes some of the oddest time-changes adn instrumentation seem melodiously amiable. If you think Primus is "too metal" and Ween isn't catchy enough, Life at the Gallows could well become your favorite disc. - The Other Paper, Columbus OH

"09.22.04 Review"

This experimental Rock outfit has Fusion tendencies with an emphasis on keyboards. The music is heavy on hooks but light on repetition. - City Beat, Cincinnati OH

"07.01.04 Life At The Gallows album review"

This music is the soundtrack to an acid trip in a carnival during the midnight hour of Halloween. -

"08.03.04 Life At The Gallows album review"

I only hope that Wigglepussy Indiana continue to expand on their own sound and ditch the emulation of others. If they do that, the next Wigglepussy Indiana album will be a masterpiece. -

"06.23.03 Live Show review"

...equal parts Prince and King Crimson, with a touch of Nick Cave drama thrown in...pastoral space rock and menacing art funk... - The Other Paper, Columbus OH


An enormous creative force that abhors description - Now Its Dark Magazine

"03.28.02 Volatile Composition album review"

[Volatile Composition] ranges from a f%$*ed up Flight of the Bumble Bee to Jeff Buckley on acid. The band is definately as original as its name. - Columbus Alive

"04.01.02 Show review"

Friday at Skully's featured a prog-rock band called Wigglepussy Indiana. The lead singer wore, what seemed, a Zoot suit complete with a "Cherry Poppin' Daddy's" hat and remarked into the mic in a murky low voice, "you folks ready for some Wigglepussy?" It took a few minutes for them to get sound adjusted but then five minutes later the band broke inot a formula for its first several originals: Bass guitar lead riffs accompanied by sampled keyboard sound/psychotic effects. The band structure is basic: drums, keyboard/sample, bass guitar and lead vocalist. However this band isn't a one trick pony. There is some sort of creative madness going on that is drawing in admirers to their shows. Without the advent of a guitar player, the band relies heavily on the bassist to provide the backbone for each song and typically the bassist leads the direction of each song. The music is intruiging and you're never quite sure what musical direction the band is going to take next. The first several tunes had unusual time changes and had an almost Frank Zappa/King Crimson like quality to them of chaos mixed perfectly with order. Their third song may have clocked in at a mere 30 seconds. But with Wigglepussy, it's a challenge to determine where one song ends and the other begins. By the 4th or 5th song, the band was doing some explosive keyboard/bassist exploration jams that were intense, volatile at times and grooving all around with a blues feel to it. The keyboardist had his solo chops down pat while the drummer bashed out an eruptive but effective support rhythm.

The lead singer decided to lay on his back, staring up at the lights, as if to soak up some music-tanning rays during the jam session. The lead singer had good, if not raw, stage presence and commanded a sort of drifter, street hustler image on stage. After playing 20 minutes of their own material, Wigglepussy, out of no-where, broke into a cover tune of Stevie Wonder's "Superstition" and immediately the dance floor was filled with people shaking their b-hinds. Again, this is indicative of the band's live show, first they do some prog-rock material that isn't anywhere near commercial and then break into a completely commercial tune from Stevie Wonder. Audience members are left wondering, what will the band do next? The music is certainly avant garde, but touches on a large variety of musical influences. During the band's set, the singer encouraged everyone to try a liquid concoction he was fond of, called "Whisky Bidniz". It's a mixture of whisky and root beer and he swore to the audience that they would love it. The show also served as Wigglepussy's CD release party, with their CDs selling for $10 bucks as well as t-shirts with a fair tag price of $12. If you're in the mood for something out of the ordinary, go check out Wigglepussy. If you just want to say something unusual, then just say "Wigglepussy". - Word on the Street


Life At The Gallows (Full album-2004): contains "Transylvanian Moonshine", "Doorlock Keyhole" and "White which recieved considerable college radio airplay.

Volatile Composition (Full album-2002):
contains "Blue" and "Spontaneous Combusion" which recieved some airplay. Also contains "Marionette" which was performed as a play by MadLab Theatre in Columbus OH 2 years in a row at the Grand Guignol.


Feeling a bit camera shy


Black Cat Revival (BCR) has been appropriately dubbed by the media as Modern Pop Music's Evil Twin. Dark, theatrical rock; deep hooks & poetic verse backed by solid jazz-influenced musicianship, enhanced by a powerful multimedia live show. Be afraid, be amused, be entertained. Fans of progressive, alternative, and art rock, metal, pop and avant-garde jazz all find a friend in Black Cat Revival. Within four years the band has self-released two albums on their own label Quan Productions, designed all of their own art & media materials, started their own publishing company "Whoopety-Smacks Music", and secured legal representation. BCR successfully supported a national college radio campaign with their second release, “Life at the Gallows,” that earned them 9th Most Added Album on CMJ in December 2003, with rotation on 100+ stations including embracement from the Upper Room with Joe Kelly, most notably with the songs Transylvanian Moonshine & White. Their songs have been placed in compilations, film projects, adapted to theatre, and licensed for TV--including most recently the appearance of "Big Blue Machine" and “Diamondback Jaws” on MTV's Real World and "Diamond City Shook" on the We Are the Future's “Voice Your Choice” compilation. Their music has also appeared in conjunction with comic books, art openings and stand-up comics. Through hard work, word-of-mouth, and buzz, they've grown their mailing list to over 500 citizens, a quarter of which are Street Team members, in less than a year. Their consistent Columbus draw has brought in up to 400 people at headlining shows, and they’ve been met with growing enthusiasm in Cincinnati, Cleveland, Athens, Dayton, Lexington, Indianapolis, Terre Haute, Baltimore, Chicago, Louisville, and other cities. BCR has shared the stage with nationals acts including Whirlwind Heat, Guest, Freekbass, Jello Biafra, LP, and Buckra, showcased three years in a row at the Midpoint Music Festival, and continually receive positive reviews. The band’s focus is on continuing to expand their audience through regional touring in numerous Midwest, Southern, and Eastern markets, including Detroit, Pittsburgh, Philadelphia, Morgantown, Knoxville, Nashville, as well as those mentioned above. In order to keep building that sphere outward, they are touring.

HERE’S WHAT OTHERS HAVE SAID: “...(BCR) are one of the most unique bands I've ever heard, on Starpolish or elsewhere...and I’m guessing their live show is absolutely killer. ’Transylvanian Moonshine’ is a pleasantly moody synth masterpiece...with a Broadway Musical-worthy vocal performance...” -Gail Worley, Freelance Rock Critic
“Equal parts Prince and King Crimson, with a touch of Nick Cave drama thrown in…pastoral space rock and menacing art funk…” -Rick Allen, The Other Paper
“A keen sense of histrionic melodrama and a touch of pop that makes some of the oddest time-changes and instrumentation seem melodiously amiable. If you think Primus is ‘too metal’ and Ween isn’t catchy enough, Life at the Gallows could well become your favorite disc.” -Brian O’Neill, The Other Paper
"I only hope they continue to expand on their own sound...the next album will be a masterpiece." -Night Watchmen, Tastes Like Chicken