Dom P., Like Herding Cats
Robert Smith, The Cure
Bernard Sumner of New Order with his 70's Gibson SG

 

 

 

 

 

 

There is a certain inimitable swing, a sway, a wind rocking Dom P. of Like Herding Cats, new wave’s new guard, shaking him from the inside, bringing forth infectious melodies that stand out while they make you dance, because they only fit that recognizable charm, Dom P.’s own effortless style. I’ve heard the future of new wave. It can contain a texture as wet as The Cure‘s CE-2 chorus while also sonically managing to sustain, weaved within its tapestry of newly found rhythmic chill, the dry attack of early New Order‘s 70’s Gibson SG as well as the rich, GE-6 equalizer-boosted ring of Johnny Marr’s Telecaster from The Smiths. Mainly, the new wave of the future is about a groove. Like Herding Cats finds the perfect outlet for Dom P.’s spot in our musical culture as the godfather of post-new wave, a perfection of something he has been working on for over a decade. In the late 90’s third wave of punk rock, Dom P. was like a swinging palm, dancing drenched in bubbly sound in a storm of punk noise, an intuitive style in stark contrast with the rest. Dom’s own band The Nobodies were a part of a movement within a movement, along with The Habit and Match Party, who did not subscribe to distortion as much as chorus. Then came the part of life when everyone gets startled by increasing seriousness. I never thought I’d hear that infectious strumming and single note pick attack again. Until a few days ago, when a CD arrived in the mail. Cats reminding me of siamese twins on the cover, along with plenty of gray providing background for a puzzling phrase: “Like Herding Cats.”

Lift, the first song of the EP offers the blueprint, the DNA of Dom P.’s pop sense, pulling you in with an atmosphere and a guitar melody strummed in that unforgettable timing. It is an instrumental with a subtle hummed vocal tune, the source code to this engaging sonic algorithm. Now that your cells have been trained you’re ready for Touch, a poetic love song that rises from a Krout-rock-influenced minimal beat, a North European dance club flavor supporting Dom’s warm swing, and taking you into a lyrical bitter-sweet melancholy that continues where The Cure left off, going into a perfectly crafted change for the chorus.

“I’d say what influenced the album and of course the artist name was a series of personal letdowns,” says Dom P. of the album’s unifying sentimentality. “I was going through a lot with an intimate relationship and with band members. I started working on mastering my production skills which led me to write and produce a solo album.”

The groove becomes satisfyingly syncopated in Rich Girls, taking the spotlight, and would very likely be the part of the set where I personally break it down on the dance floor. Trendsetter is the true anthem of the set, held together tightly by a clap, with lyrics praising individuality and featuring a single string memory heaven. Years Gone is where the early New Order influence brings a smile to my face, and is a perfect closer. It feels like a sunset.


Dom P.’s updated Post-New Wave Sound includes the Boss DD-7 delay pedal, Chorus Ensemble, Roland Space eEcho and Loop Station.

In the old days Dom was one of the go-to sources on imitating the sound of The CureHe had found a connection between his unique sense of timing and that of Robert Smith, and had created his own psychedelic-meets-punk amalgam, in his teens. By the time Dom P.’s early band The Nobodies hit the North Jersey punk scene, there was a heavy early New Order ready-for-synth dose in his sound.

The sound of The Cure‘s 17 Seconds album mimicked by Boss pedals: A Boss BF-2 Flanger (now replaced by the BF-3 but easy to find on the second hand market). The settings were manual 60%, Depth 75%, Rate 50% and Res 25%. A Boss DD-3 Delay: all knobs more or less at 50% (I love the DD-5, personally though it is discontinued, and the DD-7 is now available). A Boss RV-3 Reverb (discontinued too and replaced by the RV-5): balance 25%, tone 30%, r.time 40%, mode 10.

Dom P. describes his organic approach, much of it influenced by pre-MIDI Minimal Wave: “Many of the sounds were organic and not software presets. They were created by me fucking around with loops and running the keyboards through amps and tracking live. Some of the sounds I’ve had a hard time reproducing so when I gig live I will be using the stems to perform. As for the video. It was DIY. I shot most of it and edited myself. The conceptual work and direction was also my own. It was shot all on an iPhone using a Super 8mm filter.”

Just as important to Dom P.’s unique sound in his latest incarnation as an inventor of  post-new wave was the period in his musicianship when he had decided to shake that Chorus-drenched Goth image by studying jazz guitar techniques. A bent for the progressive is what I was expecting when I loaded the debut by his new band, Like Herding Cats, into my laptop’s CD port. Not only did the return of that cozy, tickling sound warm my heart in this year’s geographically misplaced Arctic winter, but its union with an informed, Johnny Marr from The Smiths – reminiscent, curious, explorative technique  brought a smile of pride in my old scene to my face.  There is a refreshing surprise in Dom P.’s blend of  early New Order and minimal wave sounds, a Cure attitude with Smiths studiousness. Combined with the resurgence of Dom P.’s unique groove, the style creates a platform for a brand new army of moody musicians, emerging with guitars in hand, looking for a songs that tell them something about their lives. Like Herding Cats is a possible sound-map for new wave’s new guard. 

“Musically, I was listening to a lot of modern electronic stuff like chill wave and of course new wave. The percussive minimalism of Bands like Washed Out really gave me the confidence,” Dom P. explains. “I’m certainly not a good a drummer and realized that chill wave revolved around great melodic concepts more so than complex rhythms. I’d say I was listening to bands like: Washed Out, New Order (Power Corruption and Lies era), The Cure, The Smiths, David Bowie (Eno trilogy era),  Brian Eno‘s Here Come the Warm Jets. I focused a lot on melody and textures.”

This sound is worth keeping up with. I see a career path in Dom P. similar to LCD Soundsystem‘s James Murphy–a single vision of a debut album just itching to be taken live, so it could  grow into a cultural revolution.

Instruments used by Dom P. in Like Herding Cats:

Guitars: 61 Gibson SG Reissue, 72 Fender Telecaster Reissue, Taylor 410 acoustic guitar and a no-name nylon acoustic. Fender Hot Rod DeVille amp. Keyboards: vintage Casiotone Mini, analog keyboard mt-68 from 1980s micro Korg synthesizer. Percussion: live perscussion and emulators – tambourines,shakers, and emu drum sample packs.

Johnny Marr of The Smiths on Boss Pedals:

“I went back to some of my old stomp boxes that I had when I was in The Smiths, most of which were Boss. I used to love the white GE-6 equalizer, and the very first light-blue CE-2 chorus that still sounds really good.
I had the yellow [BOSS] OS-2 overdrive/distortion pedal, the OD-2 Overdrive pedal; actually thats where I got the riff to The Smiths song ‘London’. I had the CE-2 chorus pedal, the white GE-6 EQ, the BF-2 purple flanger and when the very first grey reverb pedal came out, the RV-2, I got that. I still own it. It sounds really good.”

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