Cat Out Of Hell
Fantastic Cat
Fantastic Cat’s Cat Out Of Hell is the “oops‑all‑frontmen” supergroup’s third album, and it captures them at their loosest and most confident, folding four distinct singer‑songwriters into one scruffy, big‑hearted rock record. Produced by the band and mixed by D. James Goodwin (known for work with Goose, Kevin Morby, and The Hold Steady), the 12‑track album channels the freewheeling chaos of their live shows into studio form: loud, warm guitars, boogie‑woogie piano, and sing‑along choruses that feel like a house party full of misfits and bar‑stool philosophers. Critics have compared the group to a younger, more sharp‑tongued Traveling Wilburys or Monsters of Folk, noting that this release solidifies them as much more than a clever side‑project concept.
Each member—Don DiLego, Anthony D’Amato, Brian Dunne, and Hollis Brown’s Mike Montali—takes turns on lead vocals, which gives the album a shifting but surprisingly cohesive personality. It opens with “Donnie Takes The Bus,” an instantly catchy Americana‑rock tune with a bit of Sgt. Pepper‑style flair and bar‑piano swagger, then slides into “The Waiting Room,” a mid‑tempo song about longing that sets the album’s blend of wistfulness and wry humor. From the folk‑leaning “Elevator” (with a Dylan‑ish rhythmic tumble) to the indie‑pop glow of “Don’t Let Go” and the caffeinated piano‑pop of “How’s That Working Out?,” the band hops genres without losing its knack for hooks or John Prine‑worthy one‑liners. Closer “Nobody Better” strips things back to subtle strings and soft harmonies, revealing a surprising emotional weight and reminding you that, beneath the jokes and chaos, these are serious songwriters using joy and camaraderie to grapple with meaning, aging, and the strange business of staying hopeful.
Fantastic Cat’s Cat Out Of Hell is the “oops‑all‑frontmen” supergroup’s third album, and it captures them at their loosest and most confident, folding four distinct singer‑songwriters into one scruffy, big‑hearted rock record. Produced by the band and mixed by D. James Goodwin (known for work with Goose, Kevin Morby, and The Hold Steady), the 12‑track album channels the freewheeling chaos of their live shows into studio form: loud, warm guitars, boogie‑woogie piano, and sing‑along choruses that feel like a house party full of misfits and bar‑stool philosophers. Critics have compared the group to a younger, more sharp‑tongued Traveling Wilburys or Monsters of Folk, noting that this release solidifies them as much more than a clever side‑project concept.
Each member—Don DiLego, Anthony D’Amato, Brian Dunne, and Hollis Brown’s Mike Montali—takes turns on lead vocals, which gives the album a shifting but surprisingly cohesive personality. It opens with “Donnie Takes The Bus,” an instantly catchy Americana‑rock tune with a bit of Sgt. Pepper‑style flair and bar‑piano swagger, then slides into “The Waiting Room,” a mid‑tempo song about longing that sets the album’s blend of wistfulness and wry humor. From the folk‑leaning “Elevator” (with a Dylan‑ish rhythmic tumble) to the indie‑pop glow of “Don’t Let Go” and the caffeinated piano‑pop of “How’s That Working Out?,” the band hops genres without losing its knack for hooks or John Prine‑worthy one‑liners. Closer “Nobody Better” strips things back to subtle strings and soft harmonies, revealing a surprising emotional weight and reminding you that, beneath the jokes and chaos, these are serious songwriters using joy and camaraderie to grapple with meaning, aging, and the strange business of staying hopeful.
Cat Out Of Hell
Fantastic Cat
Fantastic Cat’s Cat Out Of Hell is the “oops‑all‑frontmen” supergroup’s third album, and it captures them at their loosest and most confident, folding four distinct singer‑songwriters into one scruffy, big‑hearted rock record. Produced by the band and mixed by D. James Goodwin (known for work with Goose, Kevin Morby, and The Hold Steady), the 12‑track album channels the freewheeling chaos of their live shows into studio form: loud, warm guitars, boogie‑woogie piano, and sing‑along choruses that feel like a house party full of misfits and bar‑stool philosophers. Critics have compared the group to a younger, more sharp‑tongued Traveling Wilburys or Monsters of Folk, noting that this release solidifies them as much more than a clever side‑project concept.
Each member—Don DiLego, Anthony D’Amato, Brian Dunne, and Hollis Brown’s Mike Montali—takes turns on lead vocals, which gives the album a shifting but surprisingly cohesive personality. It opens with “Donnie Takes The Bus,” an instantly catchy Americana‑rock tune with a bit of Sgt. Pepper‑style flair and bar‑piano swagger, then slides into “The Waiting Room,” a mid‑tempo song about longing that sets the album’s blend of wistfulness and wry humor. From the folk‑leaning “Elevator” (with a Dylan‑ish rhythmic tumble) to the indie‑pop glow of “Don’t Let Go” and the caffeinated piano‑pop of “How’s That Working Out?,” the band hops genres without losing its knack for hooks or John Prine‑worthy one‑liners. Closer “Nobody Better” strips things back to subtle strings and soft harmonies, revealing a surprising emotional weight and reminding you that, beneath the jokes and chaos, these are serious songwriters using joy and camaraderie to grapple with meaning, aging, and the strange business of staying hopeful.
Fantastic Cat’s Cat Out Of Hell is the “oops‑all‑frontmen” supergroup’s third album, and it captures them at their loosest and most confident, folding four distinct singer‑songwriters into one scruffy, big‑hearted rock record. Produced by the band and mixed by D. James Goodwin (known for work with Goose, Kevin Morby, and The Hold Steady), the 12‑track album channels the freewheeling chaos of their live shows into studio form: loud, warm guitars, boogie‑woogie piano, and sing‑along choruses that feel like a house party full of misfits and bar‑stool philosophers. Critics have compared the group to a younger, more sharp‑tongued Traveling Wilburys or Monsters of Folk, noting that this release solidifies them as much more than a clever side‑project concept.
Each member—Don DiLego, Anthony D’Amato, Brian Dunne, and Hollis Brown’s Mike Montali—takes turns on lead vocals, which gives the album a shifting but surprisingly cohesive personality. It opens with “Donnie Takes The Bus,” an instantly catchy Americana‑rock tune with a bit of Sgt. Pepper‑style flair and bar‑piano swagger, then slides into “The Waiting Room,” a mid‑tempo song about longing that sets the album’s blend of wistfulness and wry humor. From the folk‑leaning “Elevator” (with a Dylan‑ish rhythmic tumble) to the indie‑pop glow of “Don’t Let Go” and the caffeinated piano‑pop of “How’s That Working Out?,” the band hops genres without losing its knack for hooks or John Prine‑worthy one‑liners. Closer “Nobody Better” strips things back to subtle strings and soft harmonies, revealing a surprising emotional weight and reminding you that, beneath the jokes and chaos, these are serious songwriters using joy and camaraderie to grapple with meaning, aging, and the strange business of staying hopeful.