In this weekly series, our reporters reappraise a misinterpreted record or share their gratitude for an underestimated album that should have more love. This week: Lausse the Cat’s ‘The Girl, the Cat and the Tree’.
Every so frequently, deep space blesses you with an artist who entirely blows you away with their music.
Such held true a couple of years back, throughout my days at university when I came across the enigmatic Lausse the Cat.
It was among those serendipitous minutes on Spotify when a recommended track beckoned me with its appealing title and cover art. It was called ‘Redstripe Rhapsody.’
As the tune unfolded, I discovered myself enchanted by this eight-minute opus of lo-fi hip-hop and jazzy grooves, accompanied by the apparent cadence of Lausse the Cat’s laidback shipment. It’s precisely what I’d been searching for.
Hearing the track seemed like a discovery. His reflective lyricism, teeming with smart wordplay and vibrant images, danced easily atop a background of live production that defied convention. Beat changes, developing soundscapes, and a sense of large originality penetrated throughout.
Without doubt, I dove into the depths of the London-born artist’s very first and just album, ‘The Girl, the Cat, and the Tree’ (launched in 2018), which I rapidly fell for.
Despite the abundance of skill within the UK rap and hip-hop scene, it has actually long been eclipsed by its United States equivalent.
However, in recent years, artists like Stormzy, Dave, Little Simzand Loyle Carner have actually lastly begun to receive the well-deserved crucial praise they have actually made.
Nevertheless, I securely think that Lausse the Cat’s groundbreaking launching job is still waiting for the acknowledgment it genuinely benefits.
“Gather round kids, ladies and kids. I have a myth to check out to you all. Our story starts on a warm summertime’s day; in a little scruffy town; in a little scruffy house, where a little scruffy cat lived… primarily in his bed.”
‘The Girl, the Cat, and the Tree’ is a brief yet extremely extensive job, clocking in at simply under 22 minutes.
Stepping into the creative world and mystique comparable to the famous MF DOOMwe are presented to Lausse’s alter-ego, who is referred to as a “sad cat, rendered cold and withered by the whispers of his previous actions“.
Consumed by hedonistic pursuits, the semi-fictitious feline lead character browses a desolate metropolitan world, looking for solace and escape through drug abuse and useless sexual encounters.
Through poetic lyricism, immersive soundscapes and fairytale-like narrative, we witness the unravelling of his battles and his desperate mission to discover significance and connection.
“Life in this mess makes a heart numb / I ventured a mission to examine why my heart’s incorrect,” raps Lausse in the captivating and melancholic opening track, ‘Motor City.’
As the title of the job recommends, we’re presented to not just the cat, however likewise “the lady” (called Lucy) and a supreme tree wizard (whose voice is provided by the gifted London-born rap artist and instrumentalist Nix Northwest).
Now, I’ll avoid diving even more into the complexities of the story as I prompt you to take a listen on your own and form your own analyses.
Beyond the story and lyrical expertise, the album’s production is likewise outstanding. From the grimey, compelling 808s in ‘A Cat’s Demise’ to the expressive strings of ‘Interlude’ and the laidback, groove-infused lo-fi beat of ‘Fuccboi Lullaby,’ the job passes through a range of designs, perfectly mixing each track into the next.
Live instrumentation, elaborate sound style and the silky singing consistencies of regular partner B-ahwe layer the structures, forming a textured and comprehensive sonic banquet.
The closing track, ‘Belle Bouteille’, is a real standout. In an unexpected twist, Lausse changes it up and provides a rap verse in French, including a wonderful touch of range. Notably, the tune’s hook provides a fitting performance of Lou Reed’s renowned ‘Walk on the Wild Side,’ admiring an artist renowned for his troubled life of excess and disobedience.
Despite the album concluding on the tantalising words “To be continued,” Lausse has regretfully yet to resurface in the music scene, just appearing in a couple of functions and leaving his modest however dedicated fanbase yearning for more.
Wrapped in an aura of secret, little is understood about the man behind the music. In unusual video footage of his old live efficiencies, he enhances the phase wearing a mask, just like the formerly discussed MF DOOM.
While I would enjoy absolutely nothing more than some brand-new product from Lausse the Cat, the enigma surrounding the rap artist just contributes to the appeal and short lived charm of the album.
Lausse, if you read this, I hope you’re succeeding my guy and I extend my thankfulness for sharing your art with the world.
