Sometimes it’s good to have been around the block. Run With The Kittens have logged a lot of time onstage together, and it shows. Their residency at Toronto’s Cameron House is about to enter its 11th year. They’ve toured across Canada, and as far as Holland, playing biker festivals, art shows, mental institutions, a few Legions, dozens of festivals and hundreds of bars.
Along the way they’ve released 6 albums independently, produced by the award winning Terry Brown (Rush, Max Webster) and Adam King (Good Lovelies) among others. With good vibes the Kittens parted ways with founding member and irreplaceable guitar-player Champagne James Robertson earlier this year. True to description he can/will not be replaced.
Run With The Kittens are now a trio. A logical progression rather than a drastic rebirth, the sound of the new kittens is familiar yet, as always, a departure from what preceded it.
2016 brings the release of a double record of new material titled 'Casio Glue Bomb' produced by inimitable frontman/songwriter Nate Mills (Guitar, Microkorg, Floor Tom, Melodica) and backed by Nigel Hebblewhite (Bass VI, Microkorg, Kaosillator) and Jake Oelrichs (Drums, Percussion, Glockenspiel) and mixed by Terry Brown.
"The best live band I have seen in 20 years." says Terry Brown (engineer for Donovan & Hendrix, Producer for Max Webster and Rush). Terry engineered/mixed and produced the follow up to Run With The Kittens self titled debut, entitled “Condos and Lofts”, released on March 16th, 2007 at the Horse Shoe and their third album "Bangers and Mash" released Sept. 14th 2007 also at the Horse Shoe Tavern.
Sometimes comparisons to Beck or Ween or maybe the Pixies pop up from time to time, but they tend to wear off within a few songs. The same "modern" sound and approach is there, though. It's a mash up of 20th century popular music. Bossa Nova, surf, disco, hip-hop, children's songs, lounge jazz and grooving instrumentals all appear in a usual Run With The Kittens set.
The real strength of the band is they not only manage to keep the average listener's attention through the changes in a set, but their passion and enjoyment in their delivery makes being dragged along for the laugh-out-loud ride inevitable.