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"Cover Story: Toronto blues punks find the future of rock ’n’ roll by digging deep in the distant past"

It’s a cold, wintery night, and the cozy Cloak & Dagger pub is crowded with folks grooving to DJ Anousheh’s mix of classic soul and reggae tunes at her monthly party, Move On Up.

Something’s a little different tonight, though.

A couple of dudes have squished themselves, a stripped-down drum kit and a small pile of old guitar amps onto the tiny stage beside the turntables and are churning out throbbing minimalist blues rhythms.

The lanky guitar player is perched on a chair, yelping and growling into a battered old mic plugged into a guitar amp, making it sound like his fuzzy, distorted vocals are coming off a dusty 78. The bearded drummer locks into a steady groove and keeps pumping away as if he’s in a voodoo-induced trance.

They sound like they could be playing in either 1946 or 2012 – familiar and yet completely alien. The music they’re inspired by, the gear they use, how they record and even the way they run the band have been lifted from so far back in the past that they might as well have been beamed back from the future.

That was two years ago. Now, we’re back at the Cloak & Dagger, revisiting the scene of the crime. Catl are now a trio (with the addition of organ player/percussionist/vocalist Sarah Kirkpatrick). They’re set to release their second album, With The Lord For Cowards You Will Find No Place (Folk Brand), regularly pack clubs with their dedicated following and have received glowing reviews from all the major newspapers in town. The capper? Last year Catl shocked the blues establishment by winning the 2009 Toronto Blues Society Talent Search.

“I think a lot of people were really pissed off about us winning that,” laughs drummer Johnny LaRue.

“I left early and went back to work because I assumed we wouldn’t win,” Kirkpatrick admits.

“It was the only talent search I’ve ever been part of, and I won!” she says with a huge grin.

Catl occupy an odd spot in the music scene. In many ways, they’re way more traditional than most contemporary blues bands, but because their references extend so far into the genre’s gritty beginnings, they end up getting lumped in with the punk and indie scenes they’re trying to escape. While they’re beginning to make inroads into the blues community, they’re inarguably outsiders.

“For some reason, Stevie Ray Vaughan is considered ground zero for blues. It’s like time stopped in the 70s,” LaRue says. “To me, that style has nothing to do with the blues. That’s just my aesthetic, and it doesn’t mean I’m right and they’re wrong, but for me Jerry Lee Lewis has way more to do with blues music than [Vaughan] does.”

Almost by accident, Catl have gone so far retro that they’ve ended up sounding new. How did three refugees from the punk scene end up emulating a forgotten music from an era that ended before they were born? Turns out part of the story comes down to an injury that almost cut short the career of singer/guitarist Jamie Fleming (aka Catl the person).

“I sliced a couple of tendons on my left hand in a work injury and lost a bunch of mobility in that hand. Thankfully, the playing I do now is more about the right hand. In a way, it kind of led to this.”

It didn’t happen overnight, though. For several years Fleming said goodbye to the band life, but music is a hard habit to kick.

“I got to a point in my life where I wanted to be a musician again, and I wanted a vehicle I could play with for a really long time,” Fleming explains, choosing his words deliberately as he sips his beer.

“We all shopped at Rotate This, and I asked Pierre [Hallett] for a good springboard to country-blues-type stuff. He suggested Mississippi Fred McDowell, who just blew my mind.

“Punk rock came out of rock ’n’ roll; rock ’n’ roll came from rhythm and blues, which came from country blues. I just went way back. I’m hoarding all these records from the 30s, and that’s pretty much all I listen to now.”

Not only did early blues and pre-rock ’n’ roll give Catl musical inspiration, but they also inspired a whole new (er, old?) way of running the band.

“I kind of like the idea of being a regional band. I don’t want to hop in a van and spend three months on the road playing to nine people in someone’s basement. I did that in the punk rock days, and I don’t see the point in trying to tour Canada. I’m not too interested any more in the band grind thing.”

Instead of hoping for some blog buzz and trying to conquer the world, they’d rather keep their day jobs and put their energy into their long-running monthly Dakota residency, making short weekend trips to working-class Ontario cities like Oshawa and Hamilton. They’re actually happy to stay local, take it slow and build something they can grow old with. - NOW Magazine


"Cover Story: Toronto blues punks find the future of rock ’n’ roll by digging deep in the distant past"

It’s a cold, wintery night, and the cozy Cloak & Dagger pub is crowded with folks grooving to DJ Anousheh’s mix of classic soul and reggae tunes at her monthly party, Move On Up.

Something’s a little different tonight, though.

A couple of dudes have squished themselves, a stripped-down drum kit and a small pile of old guitar amps onto the tiny stage beside the turntables and are churning out throbbing minimalist blues rhythms.

The lanky guitar player is perched on a chair, yelping and growling into a battered old mic plugged into a guitar amp, making it sound like his fuzzy, distorted vocals are coming off a dusty 78. The bearded drummer locks into a steady groove and keeps pumping away as if he’s in a voodoo-induced trance.

They sound like they could be playing in either 1946 or 2012 – familiar and yet completely alien. The music they’re inspired by, the gear they use, how they record and even the way they run the band have been lifted from so far back in the past that they might as well have been beamed back from the future.

That was two years ago. Now, we’re back at the Cloak & Dagger, revisiting the scene of the crime. Catl are now a trio (with the addition of organ player/percussionist/vocalist Sarah Kirkpatrick). They’re set to release their second album, With The Lord For Cowards You Will Find No Place (Folk Brand), regularly pack clubs with their dedicated following and have received glowing reviews from all the major newspapers in town. The capper? Last year Catl shocked the blues establishment by winning the 2009 Toronto Blues Society Talent Search.

“I think a lot of people were really pissed off about us winning that,” laughs drummer Johnny LaRue.

“I left early and went back to work because I assumed we wouldn’t win,” Kirkpatrick admits.

“It was the only talent search I’ve ever been part of, and I won!” she says with a huge grin.

Catl occupy an odd spot in the music scene. In many ways, they’re way more traditional than most contemporary blues bands, but because their references extend so far into the genre’s gritty beginnings, they end up getting lumped in with the punk and indie scenes they’re trying to escape. While they’re beginning to make inroads into the blues community, they’re inarguably outsiders.

“For some reason, Stevie Ray Vaughan is considered ground zero for blues. It’s like time stopped in the 70s,” LaRue says. “To me, that style has nothing to do with the blues. That’s just my aesthetic, and it doesn’t mean I’m right and they’re wrong, but for me Jerry Lee Lewis has way more to do with blues music than [Vaughan] does.”

Almost by accident, Catl have gone so far retro that they’ve ended up sounding new. How did three refugees from the punk scene end up emulating a forgotten music from an era that ended before they were born? Turns out part of the story comes down to an injury that almost cut short the career of singer/guitarist Jamie Fleming (aka Catl the person).

“I sliced a couple of tendons on my left hand in a work injury and lost a bunch of mobility in that hand. Thankfully, the playing I do now is more about the right hand. In a way, it kind of led to this.”

It didn’t happen overnight, though. For several years Fleming said goodbye to the band life, but music is a hard habit to kick.

“I got to a point in my life where I wanted to be a musician again, and I wanted a vehicle I could play with for a really long time,” Fleming explains, choosing his words deliberately as he sips his beer.

“We all shopped at Rotate This, and I asked Pierre [Hallett] for a good springboard to country-blues-type stuff. He suggested Mississippi Fred McDowell, who just blew my mind.

“Punk rock came out of rock ’n’ roll; rock ’n’ roll came from rhythm and blues, which came from country blues. I just went way back. I’m hoarding all these records from the 30s, and that’s pretty much all I listen to now.”

Not only did early blues and pre-rock ’n’ roll give Catl musical inspiration, but they also inspired a whole new (er, old?) way of running the band.

“I kind of like the idea of being a regional band. I don’t want to hop in a van and spend three months on the road playing to nine people in someone’s basement. I did that in the punk rock days, and I don’t see the point in trying to tour Canada. I’m not too interested any more in the band grind thing.”

Instead of hoping for some blog buzz and trying to conquer the world, they’d rather keep their day jobs and put their energy into their long-running monthly Dakota residency, making short weekend trips to working-class Ontario cities like Oshawa and Hamilton. They’re actually happy to stay local, take it slow and build something they can grow old with. - NOW Magazine


"Cover Story: Toronto blues punks find the future of rock ’n’ roll by digging deep in the distant past"

It’s a cold, wintery night, and the cozy Cloak & Dagger pub is crowded with folks grooving to DJ Anousheh’s mix of classic soul and reggae tunes at her monthly party, Move On Up.

Something’s a little different tonight, though.

A couple of dudes have squished themselves, a stripped-down drum kit and a small pile of old guitar amps onto the tiny stage beside the turntables and are churning out throbbing minimalist blues rhythms.

The lanky guitar player is perched on a chair, yelping and growling into a battered old mic plugged into a guitar amp, making it sound like his fuzzy, distorted vocals are coming off a dusty 78. The bearded drummer locks into a steady groove and keeps pumping away as if he’s in a voodoo-induced trance.

They sound like they could be playing in either 1946 or 2012 – familiar and yet completely alien. The music they’re inspired by, the gear they use, how they record and even the way they run the band have been lifted from so far back in the past that they might as well have been beamed back from the future.

That was two years ago. Now, we’re back at the Cloak & Dagger, revisiting the scene of the crime. Catl are now a trio (with the addition of organ player/percussionist/vocalist Sarah Kirkpatrick). They’re set to release their second album, With The Lord For Cowards You Will Find No Place (Folk Brand), regularly pack clubs with their dedicated following and have received glowing reviews from all the major newspapers in town. The capper? Last year Catl shocked the blues establishment by winning the 2009 Toronto Blues Society Talent Search.

“I think a lot of people were really pissed off about us winning that,” laughs drummer Johnny LaRue.

“I left early and went back to work because I assumed we wouldn’t win,” Kirkpatrick admits.

“It was the only talent search I’ve ever been part of, and I won!” she says with a huge grin.

Catl occupy an odd spot in the music scene. In many ways, they’re way more traditional than most contemporary blues bands, but because their references extend so far into the genre’s gritty beginnings, they end up getting lumped in with the punk and indie scenes they’re trying to escape. While they’re beginning to make inroads into the blues community, they’re inarguably outsiders.

“For some reason, Stevie Ray Vaughan is considered ground zero for blues. It’s like time stopped in the 70s,” LaRue says. “To me, that style has nothing to do with the blues. That’s just my aesthetic, and it doesn’t mean I’m right and they’re wrong, but for me Jerry Lee Lewis has way more to do with blues music than [Vaughan] does.”

Almost by accident, Catl have gone so far retro that they’ve ended up sounding new. How did three refugees from the punk scene end up emulating a forgotten music from an era that ended before they were born? Turns out part of the story comes down to an injury that almost cut short the career of singer/guitarist Jamie Fleming (aka Catl the person).

“I sliced a couple of tendons on my left hand in a work injury and lost a bunch of mobility in that hand. Thankfully, the playing I do now is more about the right hand. In a way, it kind of led to this.”

It didn’t happen overnight, though. For several years Fleming said goodbye to the band life, but music is a hard habit to kick.

“I got to a point in my life where I wanted to be a musician again, and I wanted a vehicle I could play with for a really long time,” Fleming explains, choosing his words deliberately as he sips his beer.

“We all shopped at Rotate This, and I asked Pierre [Hallett] for a good springboard to country-blues-type stuff. He suggested Mississippi Fred McDowell, who just blew my mind.

“Punk rock came out of rock ’n’ roll; rock ’n’ roll came from rhythm and blues, which came from country blues. I just went way back. I’m hoarding all these records from the 30s, and that’s pretty much all I listen to now.”

Not only did early blues and pre-rock ’n’ roll give Catl musical inspiration, but they also inspired a whole new (er, old?) way of running the band.

“I kind of like the idea of being a regional band. I don’t want to hop in a van and spend three months on the road playing to nine people in someone’s basement. I did that in the punk rock days, and I don’t see the point in trying to tour Canada. I’m not too interested any more in the band grind thing.”

Instead of hoping for some blog buzz and trying to conquer the world, they’d rather keep their day jobs and put their energy into their long-running monthly Dakota residency, making short weekend trips to working-class Ontario cities like Oshawa and Hamilton. They’re actually happy to stay local, take it slow and build something they can grow old with. - NOW Magazine


"Cover Story: Toronto blues punks find the future of rock ’n’ roll by digging deep in the distant past"

It’s a cold, wintery night, and the cozy Cloak & Dagger pub is crowded with folks grooving to DJ Anousheh’s mix of classic soul and reggae tunes at her monthly party, Move On Up.

Something’s a little different tonight, though.

A couple of dudes have squished themselves, a stripped-down drum kit and a small pile of old guitar amps onto the tiny stage beside the turntables and are churning out throbbing minimalist blues rhythms.

The lanky guitar player is perched on a chair, yelping and growling into a battered old mic plugged into a guitar amp, making it sound like his fuzzy, distorted vocals are coming off a dusty 78. The bearded drummer locks into a steady groove and keeps pumping away as if he’s in a voodoo-induced trance.

They sound like they could be playing in either 1946 or 2012 – familiar and yet completely alien. The music they’re inspired by, the gear they use, how they record and even the way they run the band have been lifted from so far back in the past that they might as well have been beamed back from the future.

That was two years ago. Now, we’re back at the Cloak & Dagger, revisiting the scene of the crime. Catl are now a trio (with the addition of organ player/percussionist/vocalist Sarah Kirkpatrick). They’re set to release their second album, With The Lord For Cowards You Will Find No Place (Folk Brand), regularly pack clubs with their dedicated following and have received glowing reviews from all the major newspapers in town. The capper? Last year Catl shocked the blues establishment by winning the 2009 Toronto Blues Society Talent Search.

“I think a lot of people were really pissed off about us winning that,” laughs drummer Johnny LaRue.

“I left early and went back to work because I assumed we wouldn’t win,” Kirkpatrick admits.

“It was the only talent search I’ve ever been part of, and I won!” she says with a huge grin.

Catl occupy an odd spot in the music scene. In many ways, they’re way more traditional than most contemporary blues bands, but because their references extend so far into the genre’s gritty beginnings, they end up getting lumped in with the punk and indie scenes they’re trying to escape. While they’re beginning to make inroads into the blues community, they’re inarguably outsiders.

“For some reason, Stevie Ray Vaughan is considered ground zero for blues. It’s like time stopped in the 70s,” LaRue says. “To me, that style has nothing to do with the blues. That’s just my aesthetic, and it doesn’t mean I’m right and they’re wrong, but for me Jerry Lee Lewis has way more to do with blues music than [Vaughan] does.”

Almost by accident, Catl have gone so far retro that they’ve ended up sounding new. How did three refugees from the punk scene end up emulating a forgotten music from an era that ended before they were born? Turns out part of the story comes down to an injury that almost cut short the career of singer/guitarist Jamie Fleming (aka Catl the person).

“I sliced a couple of tendons on my left hand in a work injury and lost a bunch of mobility in that hand. Thankfully, the playing I do now is more about the right hand. In a way, it kind of led to this.”

It didn’t happen overnight, though. For several years Fleming said goodbye to the band life, but music is a hard habit to kick.

“I got to a point in my life where I wanted to be a musician again, and I wanted a vehicle I could play with for a really long time,” Fleming explains, choosing his words deliberately as he sips his beer.

“We all shopped at Rotate This, and I asked Pierre [Hallett] for a good springboard to country-blues-type stuff. He suggested Mississippi Fred McDowell, who just blew my mind.

“Punk rock came out of rock ’n’ roll; rock ’n’ roll came from rhythm and blues, which came from country blues. I just went way back. I’m hoarding all these records from the 30s, and that’s pretty much all I listen to now.”

Not only did early blues and pre-rock ’n’ roll give Catl musical inspiration, but they also inspired a whole new (er, old?) way of running the band.

“I kind of like the idea of being a regional band. I don’t want to hop in a van and spend three months on the road playing to nine people in someone’s basement. I did that in the punk rock days, and I don’t see the point in trying to tour Canada. I’m not too interested any more in the band grind thing.”

Instead of hoping for some blog buzz and trying to conquer the world, they’d rather keep their day jobs and put their energy into their long-running monthly Dakota residency, making short weekend trips to working-class Ontario cities like Oshawa and Hamilton. They’re actually happy to stay local, take it slow and build something they can grow old with. - NOW Magazine


"catl. Leave the Herd"

Watching a great band evolve is fascinating and it's particularly compelling when it comes to Toronto's catl, a trio steeped in blues tradition yet refreshingly idiosyncratic. Spearheaded by Jamie Fleming and Sarah Kirkpatrick with new drummer/ex-Deadly Snake Andrew Moszynski, catl. gained notice for their roaring party of a live show ? a scrappy, reverent blues explosion reflected on three studio albums since 2008, including new scorcher, Soon This Will All Be Gone.

Fleming thrived in Southern Ontario's mid-'90s underground punk scene, as an electrifying guitarist/vocalist in Pecola. When that band dissolved, he seemingly vanished from public performance before having an epiphany. "As a kid listening to punk rock, I realized it didn't come from nowhere so I looked backwards," he explains. "If you follow the thread of rock'n'roll, a lot of it was derived from country and blues music. Pierre at [Toronto record store] Rotate This gave me a Mississippi Fred McDowell record and, listening to the way he made one guitar sound like a bunch of guitars and be a band unto himself, really intrigued me."

Fleming's musical trajectory is notable because the post-punk he explored in Pecola was awe-inspiring, sounding distinctly unlike their contemporaries. Now, even after winning a Toronto Blues Society talent contest a couple years back, he's doing the same thing in catl. ? usurping age-old conventions, sticking out from the pack, and fucking shit up.

"I found it really challenging to put myself inside the parameters of country-blues music and then try and work within that to make it interesting. It's like putting yourself in a cage, rather than having an open landscape with no structure. But I don't consciously go out of my way to make things sound drastically unreal or different. That's just the way I hear things and play."
- Exclaim!


"Blues band’s hiatus is no sad affair"

It’s round-up time for Catl, the vivacious juke-blues trio known for danceable uproars and ragged, hypnotic boogies. After five years, three albums and a particularly intense touring schedule in 2012, the group is taking a hiatus. In advance of a farewell concert at the Horseshoe Tavern on Saturday, Catl founder and frontman Jamie Fleming talks about new chapters and old blues.

Catl is known for its upbeat energy. But what’s the vibe going to be like for this farewell concert?

Catl started out as a rock-and-roll dance band, and that’s what people can still expect from us. The chapter is ending with this lineup, but essentially I’m Catl. I write the songs, and I’ll still record under that moniker, moving forward. Sarah [Kirkpatrick] and I are a couple, so we’ll have to figure out what we want to do. I say it will be a new direction, but we’re not going to be a reggae band or anything.

The Toronto Blues Society is having its Blues Summit this weekend, and there’s also the Maple Blues Awards gala on Monday. It seems to me that Catl has never really been embraced by the traditional blues crowd.

I hear what you’re saying. To be honest, I’ve never been interested in plugging myself into any scene. I grew up as a punk rocker, but I’ve always considered what we play as traditional. It comes from a faraway place and a faraway time. I know those records. I know that music. I do my best to do service to it. Perhaps we’re noisier than the traditional blues audience is used to. But that’s the way it was back in the day. The blues guys of the twenties and thirties were the punk rockers of their time.

Do you take satisfaction in exposing blues to younger audiences?

When I first set out to do this, I was surprised people liked it. But I’m not a teacher. Ultimately, this is about my good time. If it is somebody else’s good time, then all the better. If it isn’t, I’m still going to be sitting around my living room or my front porch playing this type of music. - The Globe and Mail


"Blues band’s hiatus is no sad affair"

It’s round-up time for Catl, the vivacious juke-blues trio known for danceable uproars and ragged, hypnotic boogies. After five years, three albums and a particularly intense touring schedule in 2012, the group is taking a hiatus. In advance of a farewell concert at the Horseshoe Tavern on Saturday, Catl founder and frontman Jamie Fleming talks about new chapters and old blues.

Catl is known for its upbeat energy. But what’s the vibe going to be like for this farewell concert?

Catl started out as a rock-and-roll dance band, and that’s what people can still expect from us. The chapter is ending with this lineup, but essentially I’m Catl. I write the songs, and I’ll still record under that moniker, moving forward. Sarah [Kirkpatrick] and I are a couple, so we’ll have to figure out what we want to do. I say it will be a new direction, but we’re not going to be a reggae band or anything.

The Toronto Blues Society is having its Blues Summit this weekend, and there’s also the Maple Blues Awards gala on Monday. It seems to me that Catl has never really been embraced by the traditional blues crowd.

I hear what you’re saying. To be honest, I’ve never been interested in plugging myself into any scene. I grew up as a punk rocker, but I’ve always considered what we play as traditional. It comes from a faraway place and a faraway time. I know those records. I know that music. I do my best to do service to it. Perhaps we’re noisier than the traditional blues audience is used to. But that’s the way it was back in the day. The blues guys of the twenties and thirties were the punk rockers of their time.

Do you take satisfaction in exposing blues to younger audiences?

When I first set out to do this, I was surprised people liked it. But I’m not a teacher. Ultimately, this is about my good time. If it is somebody else’s good time, then all the better. If it isn’t, I’m still going to be sitting around my living room or my front porch playing this type of music. - The Globe and Mail


"Catl so happy together, again"

Former NOW cover stars catl are back after a brief break. We reported in January that the juke-blues band was going on hiatus indefinitely, but they have returned for spring – though sans drummer Andrew Moszynski.

Real-life couple Jamie Fleming (lead vocals and guitar) and Sarah Kirkpatrick (keyboardist and vocals) have spent the winter working on new rock ’n’ roll material that they’ll record this fall, with Kirkpatrick taking over on the drums. Three must be a crowd. - NOW Magazine


"Catl so happy together, again"

Former NOW cover stars catl are back after a brief break. We reported in January that the juke-blues band was going on hiatus indefinitely, but they have returned for spring – though sans drummer Andrew Moszynski.

Real-life couple Jamie Fleming (lead vocals and guitar) and Sarah Kirkpatrick (keyboardist and vocals) have spent the winter working on new rock ’n’ roll material that they’ll record this fall, with Kirkpatrick taking over on the drums. Three must be a crowd. - NOW Magazine


"Review: Soon this will all be gone - Independent"

Toronto’s infamous raw blues trio catl return with a stellar new LP Someday All This Will Be Gone , a dank battery of house rockers that are thickly marinated in southern delta blues boogie. Last I checked, the band was a two-piece, comprised of singer/guit-tar picker Jamie Fleming and drummer Johnny Larue , they’ve added keys and more vocals with Sarah Kirkpatrick and ex-*Deadly Snakes* member Andrew Moszynski replacing Johnny on the skins. It’s a great combo of players that has produced a Canadian take on the down-home Delta blues of the American South of the 20s through to the 60s.
Opener intro “Kassie Jones” draws on some Memphis Jug Band jams to set the scene for the pickin’ and grinnin’ that follows. We go electric boogie-woogie on “Gold Tooth Shine”, which slow-burns it’s way into increasingly raucous choruses. “Talk Too Much Blues” uses frenetic acoustic strumming and a pulsing kick to push the song forward, country fried vocal harmonies evoking all manner of dusty roads and cotton fields flashing by. From here we torque up to a higher gear on “Got a Thing For You”, that brings the boogie to a full tilt, and you just know the party would erupt at this point, the destroyed burn of guitar moved along like a freight train by the shakers and blues harp, Kirkpatrick’s voice commands and owns the stage here. We plateau on the seething and epically building “Cinderblock”, fully situated in John Lee Hooker territory but with amps completely shredded. “He’ll Make A Way” allows for collective catching of breath with a lilting and mellower gospel ride before amping back up for an organ driven shuffle on “5 Miles”. After this, a paradoxically slow paean of “Cocaine” which makes use of the original Reverend Gary Davis ode as the basis for this bitter libretto on the devil’s dandruff. “Get Outta My Car” brings it on home with some straight up 12 bar raw blues rhythm n boogie and finishes on a snippet of Leadbelly‘s lullaby “Goodnight, Irene”.
Totally well paced and dynamic, Soon All This Will Be Gone is a fun as shit revival of all the best aspects of delta blues and swampy jams. If there is anything right about music these days, it’s the proliferation of bands that are looking past the embarrassment of “festival blues” cheesy wankery to mine the depths of some of the best and most visceral music ever created. Though closer to the Mississippi River of Eastern Ontario than that of the Southern Delta region, catl have that muddy water in their bodies and souls, and that’s what makes their newest album shine. - The Big Takeover (NY)


"catl. survives Southern US swing"

Toronto blues bashers deluxe catl., – now stripped down to the gruesome twosome of Jamie Fleming and Sarah Kirkpatrick – have made it back from their rip-roarin' run through the red States with all their limbs and apparently most of their teeth.

They've shot some footage along the way which you'll see in their new Gotta Thing For You video set for release on June 11, just days after their "welcome home" gig at Saving Gigi (859 Bloor West) on June 8th. Some NXNE showcase gigs have also been lined up according to this press release direct from from catl. hq...

"catl. hit the road this Spring, taking their music to the Southern United States, back to where it all began. The tour proved to be a fruitful mistress for the band, full of good times and enthusiastic responses from local audiences. Man, did we meet some memorable folks! Now the band is eager to descend once again on its beloved hometown of Toronto with a handful of gigs and a new video to boot! The first glimpse will be an intimate showcase at local coffee/entertainment enclave Saving Gigi on Saturday June 8th. The severely limited capacity of the venue is guaranteed to provide an incredibly intense rock party for all! Heck yeah! Expect exciting re-workings of your fav catl. tunes and some brand new jams!

In honour of their triumphant return, and just in time for NXNE, catl. will be releasing a brand new video for ‘Gotta Thing For You’. This video will chronicle their adventures through the Deep South which found the duo playing all sorts of venues from a small juke joint in Mississippi, to running through a set at legendary Ardent Studios in Memphis. EXPECTED RELEASE DATE: June 11th - Watch For It!

catl. will be performing twice for NXNE this year – June 15th at the Exclaim! Backyard Party during the day, followed by a showcase gig at the Legendary Horseshoe Tavern that evening. Come down and experience a brand spank’n new catl. All the energy. All the drinking. More friggin’ dancing! If you didn’t catch wind of it before… After a winter-long hiatus, catl. are re-emerging. Real-life couple Jamie Fleming (catl) and Sarah Kirkpatrick have decided to continue their musical journey as a duo with Kirkpatrick playing drums – and the blisters to prove it! The result is a sexy, raw, primordial rock and roll experience. The duo has spent the winter writing a new record that they intend to record in the fall of 2013. Good to be back!"
- Perlich Post


"catl. survives Southern US swing"

Toronto blues bashers deluxe catl., – now stripped down to the gruesome twosome of Jamie Fleming and Sarah Kirkpatrick – have made it back from their rip-roarin' run through the red States with all their limbs and apparently most of their teeth.

They've shot some footage along the way which you'll see in their new Gotta Thing For You video set for release on June 11, just days after their "welcome home" gig at Saving Gigi (859 Bloor West) on June 8th. Some NXNE showcase gigs have also been lined up according to this press release direct from from catl. hq...

"catl. hit the road this Spring, taking their music to the Southern United States, back to where it all began. The tour proved to be a fruitful mistress for the band, full of good times and enthusiastic responses from local audiences. Man, did we meet some memorable folks! Now the band is eager to descend once again on its beloved hometown of Toronto with a handful of gigs and a new video to boot! The first glimpse will be an intimate showcase at local coffee/entertainment enclave Saving Gigi on Saturday June 8th. The severely limited capacity of the venue is guaranteed to provide an incredibly intense rock party for all! Heck yeah! Expect exciting re-workings of your fav catl. tunes and some brand new jams!

In honour of their triumphant return, and just in time for NXNE, catl. will be releasing a brand new video for ‘Gotta Thing For You’. This video will chronicle their adventures through the Deep South which found the duo playing all sorts of venues from a small juke joint in Mississippi, to running through a set at legendary Ardent Studios in Memphis. EXPECTED RELEASE DATE: June 11th - Watch For It!

catl. will be performing twice for NXNE this year – June 15th at the Exclaim! Backyard Party during the day, followed by a showcase gig at the Legendary Horseshoe Tavern that evening. Come down and experience a brand spank’n new catl. All the energy. All the drinking. More friggin’ dancing! If you didn’t catch wind of it before… After a winter-long hiatus, catl. are re-emerging. Real-life couple Jamie Fleming (catl) and Sarah Kirkpatrick have decided to continue their musical journey as a duo with Kirkpatrick playing drums – and the blisters to prove it! The result is a sexy, raw, primordial rock and roll experience. The duo has spent the winter writing a new record that they intend to record in the fall of 2013. Good to be back!"
- Perlich Post


Discography

Soon this will all be gone - April 2012
With the Lord for cowards you will find no place - 2010
¿Adónde Vas? A Ningún Lado. - 2009

Photos

Bio

catl. is a high energy rhythm n’ blues act hailing from Toronto. Well known for their intense live performances, this band has the ability to get people off their asses to sweat and boogie! After a winter-long hiatus, the rockin’ rhythm ‘n’ blues group have re-emerged as a “gruesome twosome” (Perlich Post) - Sarah Kirkpatrick, once behind the keyboards has moved her fury over to drums, and Jamie Fleming is still bashing away on his 40’s Gretsch. The result is a sexy, raw, primordial rock and roll experience. All stripped down, this dynamic duo is ready to make you shimmy and stomp all over the dance floor. The couple spent the winter writing a new record that they intend to record in the fall of 2013. catl.'s earlier influences of Mississippi hill country blues can still be heard in the primitive drumming, guitar playing and shouting that dominated their early recordings. They have more recently evolved their sound. emerging as a streamlined rock and roll explosion with their sights set on making the audience dance and move. Let's do this.

In the past, catl. has worked with producers Jim Diamond at Detroit's Ghetto Recorders studios as well as Jeff McMurrich in their hometown of Toronto. They have toured extensively in the United States as well as Canada, playing small clubs and parties to larger festivals such as The Montreal Jazz Festival and Sled Island. They have played shows alongside other high profile touring acts from The Alabama Shakes and The Jon Spencer Blues Explosion to fan favourites The Gories and Andre Williams.

A 2014 spring release of their 4th LP will keep the band busy playing and touring throughout the coming year in North America as well as Europe.

"..…just pure, enthusiastic fun, played loudly enough to vibrate the venue's stage – and a couple of hearts, too.”
EXCLAIM! | Toronto ON | Jun 2012