Prepare to be captivated by the eclectic world of Cootie Catcher, a Toronto-based band that defies genre boundaries and challenges musical norms. But here's the twist: their unique sound, a fusion of past and present, is as much about what they don't do as what they do. And this is the part most people miss: it's not just about the music; it's about the deliberate rejection of nostalgia and the embrace of a distinctly modern, yet timeless, aesthetic.
As I join Cootie Catcher's video call, I'm greeted by a quirky scene: the band lounging on a couch, surrounded by an unlikely duo of decorations – a majestic Lady and the Unicorn tapestry and a 'Gibby flag,' a shirtless tribute to iCarly's Gibby. This juxtaposition sets the tone for a band that thrives on contrasts. Guitarist/vocalist Nolan Jakupovski, bassist-vocalist Anita Fowl, DJ/vocalist/synth player Sophia Chavez, and drummer Joseph Shemoun have crafted a sound that's both nostalgic and forward-thinking, blending jangly indie pop with tinny drum machines, chopped vocal snippets, and live-triggered glitches.
Controversially, they've been labeled 'laptop twee,' a term Jakupovski finds both accurate and limiting. The laptop, he insists, is just another instrument, not the band's defining feature. This distinction is crucial, as it highlights their commitment to maintaining a band-centric approach, even as they incorporate electronic elements. Their upcoming album, Something We All Got (SWAG), is a testament to this balance, smoothing out the edges of their previous work while retaining its unpredictability.
The band's creative process is a democratic affair, with each member contributing lyrics and melodies. This collaborative approach could easily lead to creative gridlock, given their diverse musical tastes. But here's the surprising part: they rarely argue. Each member takes ownership of their part, from Shemoun's kraut-rock influences to Chavez's DIY aesthetic, creating a cohesive whole that transcends individual preferences.
Cootie Catcher's aversion to nostalgia is noteworthy. They're not interested in retro for retro's sake; instead, they aim for timelessness. Jakupovski's desire to create something that sounds like MIDI music in a Greek restaurant is a perfect illustration of this – a sound that's both familiar and otherworldly. This commitment to originality extends to their lyrics, which focus on the mundane, the everyday struggles of work, relationships, and late-stage capitalism.
Something We All Got is an album that asks important questions about finding meaning in a chaotic world. How do we stay hopeful without resorting to self-deception? How do we navigate a city that's constantly evolving, leaving us behind? These themes are woven throughout the album, creating a narrative that's both personal and universal.
Here's the kicker: despite the album's serious undertones, Cootie Catcher doesn't take themselves too seriously. The SWAG acronym, for instance, is both a joke and a statement, a commentary on the indie music scene's penchant for pretentious titles. This duality is emblematic of the band's approach – they're not afraid to be playful, even as they tackle weighty subjects.
As Cootie Catcher continues to push musical boundaries, they invite us to join them on a journey that's both familiar and uncharted. Their music challenges us to reconsider our relationship with nostalgia, genre, and creativity. So, what do you think? Is Cootie Catcher's unique blend of old and new a refreshing take on modern music, or a confusing mishmash of styles? Let the debate begin!
