Fractal Cat | The Eye in the Dawn

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United States - Maryland

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Rock: Psychedelic Pop: Psychedelic Pop Avant Garde: Psychedelia
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The Eye in the Dawn

by Fractal Cat

Combining electronic elements with classical instrumentation and vintage rock, Fractal Cat weaves between finely crafted hyperspace pop tunes and mind-bending sonic exploration in the spirit of early Pink Floyd and Gong.
Genre: Rock: Psychedelic
Release Date: 

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Tracks

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1. The Eye in the Dawn
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4:08 $0.99
2. Home
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4:21 $0.99
3. Foxfire
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3:55 $0.99
4. Some Angel
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2:53 $0.99
5. Autumnal Days
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3:23 $0.99
6. The Calling
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7:36 $0.99
7. Nightshade
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4:32 $0.99
8. Doesn't It Feel
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3:43 $0.99
9. Little By Little
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7:33 $0.99
10. Spiral Slide
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4:36 $0.99
11. Days Keep Falling
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7:46 $0.99
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ABOUT THIS ALBUM


Album Notes
"The Eye in the Dawn is a theme album based on the journey of spiritual awakening. We have paid homage to our favorite psychedelic rock albums of the sixties and seventies in producing this, while carving out a style of our own. The album was completely self-produced, recorded using real instruments by Fractal Cat and our friends. We made the album on a budget of zero in our homemade studio in Baltimore. Andy says it's 'very heady.'"

Baltimore band Fractal Cat emphasizes classic songwriting, a strong vocal presence, and a multilayered psychedelic sound. Originally the solo studio endeavor of songwriter Miles Gannett, the project evolved into a six-piece rock ensemble. The band’s music is uplifting, with playfully mystical lyrical content. While happily mashing genres, superimposing classical and ambient fragments on hyperspace pop nuggets, Fractal Cat clings to common threads: a dedication to song and vocal craft inspired by greats from Buddy Holly to Smokey Robinson, and mind-bending exploration in the spirit of early Pink Floyd and Gong.

The band grew out of Gannett’s studio efforts, over the course of recording their first album, The Eye in the Dawn (October 2012). The compositions, which range from psychonautical sea shanties to swirling bliss-rock epics, are a crystallization of Gannett’s song craft and a culmination of the band’s influences.

In Gannett’s home studio—which rests on an inner-city wildlife sanctuary—Fractal Cat plays curiously with song arrangements, layering recordings in between chai breaks and chapattis. Onstage, the band recreates its texturally rich recordings, drawing on the aid of homemade samples.

The Eye in the Dawn features the classical harp and keyboard of Meghan Gwyer, the jazz/Afro-beat influenced drumming of Jason Baker, the electronic sound-wizardry of Joe Clark, the acoustic rhythm guitar of Keith Jones, the dubbed-out bass of Andy Myatt, and Gannett’s lysergic lead guitar and production. Gannett handles the majority of lead vocals, with Jones lending close harmonies on several tracks. Several guest musicians have also made contributions to the album, including Chris Mandra of Telesma, Tiffany DeFoe of The Bellevederes, and Sean Finn of Great Mutant Skywheel and Sahffi.

Members:
Miles Gannett- guitar, vocals, harmonium, percussion, birds, field recordings
Jason Armstrong Baker- drums and percussion
Keith Jones- guitar, vocals, dishes
Meghan Gwyer- harp, keyboards, vocals
Andy Myatt- bass
Sheephead- samples and synths
Sean P. Finn- french horn, violin

"The band infuses its original compositions with a variety of instrumentation and offers a fresh, melodic take on pop/psychedelic music." -The Baltimore Sun


Reviews


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Heath Andrews

Some Angel
Fittingly opening with the sound of a harp, “Some Angel” is a beautifully tender piece of music from Fractal Cat. The acoustic melody is paired up with a stellar rhythm section that utilizes the bass to great effect, and powerful without being overwhelming, drumming. Despite its simple arrangement there’s a surprising degree of depth to this piece, which says a lot about the talent within Fractal Cat.

Oscar

Some Angel is great!
The dreamy harp melodies of the introduction give way for the acoustic guitar to take hold, while the male, Zero 7-like vocals, create a vibrant psychedelic song that harkens back to the music of the 1960s or 70s. At any rate, the echoing vocals and upbeat percussion incorporates a bit of crystalline harp sounds and horns. This is the most inventive song of the year in any genre.