The Soundshark Artist of the Year 2016 – Mr.Kitty

While this is the very first of the end of year posts for this site and officially the first time anything like this has been on the site before, it gives me great pleasure and happiness to write a piece, giving a greater emphasis on an artist that has been a constant for this year. Limitations are boring and if locking a piece like this solely to any artist’s accomplishments in one year, it doesn’t grant the necessary freedom to write something engaging enough. So take this as a love letter to the one artist or group of artists whose music has been cherished through thick and thin this year, and would like to dedicate this year’s piece to self-proclaimed ‘suicidal synth-pop’ artist Forrest Avery LeMaire a.k.a. Mr.Kitty.

If you want to talk about 2016 for Mr.Kitty, then it hasn’t been as active as past years. Despite playing numerous shows over in the States, we were expecting what was to be Mr.Kitty’s sixth album in as many years to be released in October, making him certifiably in the conversation as one of synth-pop’s hardest working artists around. Sadly but understandably, the album was put on hold until next year as health concerns became a priority into the latter half of the year. But that does not speak for the quality of the music that Mr.Kitty has produced over his six-year plus lifespan as a recording artist. Far from it.

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Credit: Doug Schwarz Photography

Channeling the mechanical heart of classic 80’s electronica and the drum machines of the great original goth movement, into chilling dreamscapes and darkened dancefloors, narrated by the oft distorted and reverb-drenched lullabies and shrieks of Forrest; the output of Mr.Kitty is an emotional outpouring of a vulnerable soul against an array of unforgettable analogue synth dialects. His first four albums form part of a quadrilogy of works known as the Dark Youth collection, spanning both light and darkness which broadcasts and touches upon many subject matters in that time frame, moving and macabre. It also serves as the perfect window or measuring post to show how much Mr.Kitty has grown and matured as an artist. But every release is its own separate universe, with its own atmosphere and a complete anthology of melodic masterpieces.

Arguably the greatest of his works is Dark Youth’s final installment Time, which although is one of the darker albums of that collection, is uncompromising in its vision, truly emanating the rawest feelings of every song, no matter how black its subject matter. How so many of these songs contain the musings of a mind much darker than you can imagine, but are entangled in some of the most memorable synth-pop written this decade is a true wonder and testament to Mr.Kitty’s abilities as a songwriter, let alone a fascinating juxtaposition. Although we have had snippets of a new album this year, how Forrest has tirelessly spun such outstanding retro-contemporary electronic webs together year after year is commendable. Each one is more enchanting and enrapturing than the next, and there is absolutely no hesitation in saying that everything that Mr.Kitty has created is consistently among the best music heard all year.

So if Mr.Kitty does get to read this, thank you so much for your music, with love and kind regards,

The Soundshark

Five Essential Mr.Kitty tracks:





The vast majority of everything Mr.Kitty has ever produced can be found on his Bandcamp page, and if it can’t be found there, then it can be found on his Soundcloud page instead. Though unconfirmed, a 2017 release window is pencilled in for A.I., to be Mr.Kitty’s next album of which this site will take great interest in. You can shop here if you are in need of any t-shirts or the likes in the near future.

And finally, you can find all news and the means to give him a virtual hug right here:

http://www.facebook.com/mrkittydm
http://www.twitter.com/mrkittydm

And if you wish to give me a virtual hug at all for whatever reason, then you can do so at these social media channels, or by subscribing to the site using the link below:

http://www.facebook.com/IAmTheSoundshark
http://www.twitter.com/The_Soundshark

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Eyes Of The Nightmare Jungle

There’s a stage in life, where I wish I were able to understand or sympathise with, where decades after establishing a band, making music, recording albums and seeing a little of the world before posthumously calling it quits, you can look back with a fondness on what you once did. General sensations such as hindsight and nostalgia are a similar thing, but I’m not a musician, so I can’t experience the same feelings associated with once having a short-lived band that had a mild success story. If your name is Russell Webster however, and you were the mastermind behind once one of the most influential independent recording studios in the country, and a cult status electro-goth rock band with notable club hits in central Europe, it’d be an achievement to be proud of. What Russell is now known for however is his work as a voiceover artist, having lent his voice to audio book and self-guides, on a one man crusade to make the world a better place. But what I admire from the small amount of research I’ve done, is that he is refreshingly honest about the success of his band Eyes Of The Nightmare Jungle. He claims that they bombed after their second album because they decided to be too clever, but in my opinion, they may have been a bit ahead of their time. Eyes Of The Nightmare Jungle are for the best part, your archetypical goth rock band taken very much from the 80’s, drum machine, heavily distorted guitars, grinding basslines to make the earth tremble, booming spoken word that later expands into gang chants, keyboard hooks that sit on top of the brain. But despite a sound getting on for thirty years old, it sounds like it hasn’t aged a day. In select circles, their calling card Shadow Dance is a club staple and it’s easy to understand why. From the effects-soaked chords of the beginning, leading in the endearing programmed beats and the haunted wail of the keyboard, there’s an overflow of deliciously dark melodies and smoke-filled atmosphere across the five minutes, that wrap you head-first into the spider’s lair and injects you with a euphoria, designed for the dancefloor. That keyboard, or guitar line, I’m not entirely sure which, is also worth its own mention, for in each appearance is a shimmering. delightful breeze that despite its twanginess, adds a real extra dimension to the track and the sheer infectiousness of it, elevates it beyond just being another streamlined goth floorfiller. Eyes Of The Nightmare Jungle were class songwriters, and with a producer at the top of his game at the helm of the project, it’s incredible to hear that it hasn’t aged a day since 1988. What’s more outstanding, is the appeal and allure that their excellent back catalogue awakens from not just the most hardy of all gothic fans, but from a much wider musical audience too.

Because we’re talking a band from over three decades ago that never had real mainstream recognition, you’d expect them not to have the latest and greatest in music dispensing tools. But digital and occasional physical copies of their work can be obtained at most respectable music retailers still, if this intrigues you as such.

Go give them a like on social media:

https://www.facebook.com/Eyes-Of-The-Nightmare-Jungle-150814181624559/timeline/

And if you liked this retrospective piece, why not sling some love in my direction, like follow, subscribe, however you want to, if you even want to at all:

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