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Listen to: "Demonic Lovely"
Listen to: Millionairess
Track Listing:
1. Bus of God
2. Cri du Chat
3. Millionairess
4. One Tear Tango
5. Fou
6. So Long
7. If You Don't Know
8. Lament
9. miss lady
10. Sangre del Gato
11. Catwalk
12. Tarantella a la Schwinckter*
13. Sin Eater
14. Demonic Lovely
15. Devil's Lucre
16. Lullaby for Jack
1. Bus of God
2. Cri du Chat
3. Millionairess
4. One Tear Tango
5. Fou
6. So Long
7. If You Don't Know
8. Lament
9. miss lady
10. Sangre del Gato
11. Catwalk
12. Tarantella a la Schwinckter*
13. Sin Eater
14. Demonic Lovely
15. Devil's Lucre
16. Lullaby for Jack
Listen to: Cri du Chat
Listen to: Bus of God
Listen to: Fou
Listen to: One Tear Tango
Le Chat Lunatique’s Demonic Lovely Gives Dancers and Listeners Cause for Celebration
CD captures the verve, swing and musicality of this “filthy, mangy jazz” quartet
By Mel Minter
The appeal of Le Chat Lunatique’s live performances owes as much to its bandmates patter and seriocomic stage presence as it does to their
music—and the music is damn good. They’ve managed to translate that appeal to their new studio CD, Demonic Lovely, without visual or verbal
aids. The music and the commitment with which it is played, it turns out, are really what it’s all about, whether you’re on the dance floor or sinking
into a sofa.
Featuring 16 original tracks that clock in at just under 74 minutes, Demonic Lovely offers a generous helping of the band’s determined
commingling, which blends gypsy jazz (the group’s original inspiration was Le Hot Club de France), musette, Western swing, Italian traditional,
klezmer, country, doo-wop, reggae and “anything else we damn well please,” as guitarist John Sandlin once said.
It’s a lot of music—from corybantic ecstasies to deep-souled lamentations—with few weak spots and a lot of surprises from four accomplished
players: Sandlin, Muni Kulasinghe (violin), Jared Putnam (bass) and Fernando Garavito (drums), with help from accordionist Debo Orlofsky on one
track. Seamless segues, smart track sequencing and judicious use of studio techniques add to the listenability.
One advantage of the studio is being able to double Sandlin on lead and rhythm. In either role, his downright nasty rhythmic sensibility can make
your heart skip a beat. Kulasinghe’s double-stopped fire, lascivious melancholy and theatrical vocals are LCL hallmarks. The energetic Putnam, a
sly vocalist himself, slaps the bottom in place, but he can bow, too (his bowed solo on “Tarantella a la Schwinkter” is delightfully ponderous, a bear
dancing). Then there’s the crisp, steady groove supplied by Garavito, the group’s Ringo. Together they create an inimitable sound.
Most of the tunes—five each from Kulasinghe and Sandlin, six from Putnam—are well-constructed little gems that propagate earworms for
ongoing pleasure. When there are lyrics, as surprising as some of the musical twists, they add a devilishly clever and literate dimension. Much of
their material can hold its own against the standards the band plays live.
High points include “Devil’s Lucre” (JS), sort of a “Three Blind Mice” on absinthe; “miss lady” (MK), an arch delectation of helpless heartbreak; and
the noir humor of “Millionairess” (JP).
The boys took a lot of care with this recording. The trick of it is, they make it all seem effortlessly fun—and it is, for listener and dancer alike.
The Weekly Alibi V.17 No.7 | February 14 - 20, 2008
CD captures the verve, swing and musicality of this “filthy, mangy jazz” quartet
By Mel Minter
The appeal of Le Chat Lunatique’s live performances owes as much to its bandmates patter and seriocomic stage presence as it does to their
music—and the music is damn good. They’ve managed to translate that appeal to their new studio CD, Demonic Lovely, without visual or verbal
aids. The music and the commitment with which it is played, it turns out, are really what it’s all about, whether you’re on the dance floor or sinking
into a sofa.
Featuring 16 original tracks that clock in at just under 74 minutes, Demonic Lovely offers a generous helping of the band’s determined
commingling, which blends gypsy jazz (the group’s original inspiration was Le Hot Club de France), musette, Western swing, Italian traditional,
klezmer, country, doo-wop, reggae and “anything else we damn well please,” as guitarist John Sandlin once said.
It’s a lot of music—from corybantic ecstasies to deep-souled lamentations—with few weak spots and a lot of surprises from four accomplished
players: Sandlin, Muni Kulasinghe (violin), Jared Putnam (bass) and Fernando Garavito (drums), with help from accordionist Debo Orlofsky on one
track. Seamless segues, smart track sequencing and judicious use of studio techniques add to the listenability.
One advantage of the studio is being able to double Sandlin on lead and rhythm. In either role, his downright nasty rhythmic sensibility can make
your heart skip a beat. Kulasinghe’s double-stopped fire, lascivious melancholy and theatrical vocals are LCL hallmarks. The energetic Putnam, a
sly vocalist himself, slaps the bottom in place, but he can bow, too (his bowed solo on “Tarantella a la Schwinkter” is delightfully ponderous, a bear
dancing). Then there’s the crisp, steady groove supplied by Garavito, the group’s Ringo. Together they create an inimitable sound.
Most of the tunes—five each from Kulasinghe and Sandlin, six from Putnam—are well-constructed little gems that propagate earworms for
ongoing pleasure. When there are lyrics, as surprising as some of the musical twists, they add a devilishly clever and literate dimension. Much of
their material can hold its own against the standards the band plays live.
High points include “Devil’s Lucre” (JS), sort of a “Three Blind Mice” on absinthe; “miss lady” (MK), an arch delectation of helpless heartbreak; and
the noir humor of “Millionairess” (JP).
The boys took a lot of care with this recording. The trick of it is, they make it all seem effortlessly fun—and it is, for listener and dancer alike.
The Weekly Alibi V.17 No.7 | February 14 - 20, 2008
| Demonic Lovely is available at the following Albuquerque stores: Natural Sound Hastings (Juan Tabo) Bookworks Charley's 33s and CDs Barnes & Noble (Coronado) Owl Green's Old World Imports |
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released on Dec. 5th, 2009
Weekly Alibi V.18 No.49 | December 3 - 9, 2009
Sonic Reducer
Le Chat Lunatique Under the Covers, Vol. 1 (Salad Bean Records)
Muni Kulasinghe’s howling vocals, his violin skittering across the music like beads of water on a
hot skillet. John Sandlin’s ax felling bar after bar of music with ferocious dexterity. Jared Putnam’
s slaphappy bass and slyly sweet vocals. Drummer Fernando Garavito’s irresistibly low-down
grooves. It’s all here on six covers the group has perfected over the last few years on the
bandstand. The many high points include the churchy baroque intro to “House of the Rising
Sun,” which then descends into fevered desperation, Sandlin’s solo on “Belleville Rendez-Vous”
drunkenly dancing across a fence top, and the deliriously locked-in groove between Putnam and
Garavito on “Minnie the Moocher.” “Frère Jacques,” “Straight Up” and “La Mer” round out the
collection, each with its own ear-opening moments of inspired lunacy. While paying close
attention to every tiny detail—the dabs of echo on “Jacques,” the perfectly timed cat’s yowl on
“Belleville”—Le Chat plays with a demonic abandon that makes you suspect they’re having even
more fun that we are. Mel Minter
Weekly Alibi V.18 No.49 | December 3 - 9, 2009
Sonic Reducer
Le Chat Lunatique Under the Covers, Vol. 1 (Salad Bean Records)
Muni Kulasinghe’s howling vocals, his violin skittering across the music like beads of water on a
hot skillet. John Sandlin’s ax felling bar after bar of music with ferocious dexterity. Jared Putnam’
s slaphappy bass and slyly sweet vocals. Drummer Fernando Garavito’s irresistibly low-down
grooves. It’s all here on six covers the group has perfected over the last few years on the
bandstand. The many high points include the churchy baroque intro to “House of the Rising
Sun,” which then descends into fevered desperation, Sandlin’s solo on “Belleville Rendez-Vous”
drunkenly dancing across a fence top, and the deliriously locked-in groove between Putnam and
Garavito on “Minnie the Moocher.” “Frère Jacques,” “Straight Up” and “La Mer” round out the
collection, each with its own ear-opening moments of inspired lunacy. While paying close
attention to every tiny detail—the dabs of echo on “Jacques,” the perfectly timed cat’s yowl on
“Belleville”—Le Chat plays with a demonic abandon that makes you suspect they’re having even
more fun that we are. Mel Minter
Track Listing:
1. Minnie the Moocher
2. Frere Jacques
3. Straight Up
4. House of the Rising Sun
5. La Mer
6. Belleville Rendez-Vous
1. Minnie the Moocher
2. Frere Jacques
3. Straight Up
4. House of the Rising Sun
5. La Mer
6. Belleville Rendez-Vous
Listen to: Minnie the Moocher
Listen to: Frere Jacques
Listen to: Straight Up
Listen to: House of the Rising Sun
Listen to: La Mer
Listen to: Belleville Rendez-Vous
| Featuring the New Mexico Music Award winning track- "Straight Up" for Best Cover! |
| Featuring the New Mexico Music Award winning track- "miss lady" for Best Jazz! |
| Click here for Jared's new album: A Brontosaurus on Pluto! |