Stooping To Fit
	(Setanta/LP/CD)
	n/a

While scouring the A - Z of new releases in your favourite record store, you may come across this band alphabetically filed somewhere between The Cardigans and Nick Cave. Musically, they could also loosely fit in that space as can be found with the broody, piano-laden lament Something in The Way contrasting with Come Around's uplifting and extremely poppy chorus. The recording of Stooping to Fit, in February '98 found Dale Grundle & co facing that 'difficult second album' hurdle which they seem to have cleared with ease. However, the final furlong to world domination appears not to be in sight just yet since this act have a choice of many styles to run on and seem undecided on which one to back. We've got bitter-sweet folk in the form of When I Get Over You sounding like a heartbroken young Lou Reed as plucked acoustic guitars swim in layers of cellos while Ribbons dips into an electronic rhythmic sound. Then there's the infectious, chart friendly refrain of Spellbound complemented by a lavish orchestra which thankfully doesn't subscribe to the present rule of "if in doubt, slap a load of strings on" that's seemingly being used by every act in sight. This Is Not My Home shows an interesting style of arrangement which, no doubt was spurred on by Nick Drake collaborator Robert Kirby. This elegy sneaks it's way through steady, tranquil piano notes carried along by a lazy march as a hoarse, whispered voice brings everything to a sudden stop. It all starts again just as abruptly with those mild whispers and pianos swapped for a buzzing loudspeaker voice complete with prickly, shrieking guitars and clattering drums. Lead vocals alternate between Grundle and Alice Lemon in the lulls before fading out on chimes, not unlike Radiohead's 'No Surprises'. Having written the lyrics for this album in Brooklyn, Woodstock and the band's hometown Portstewart (Northern Ireland), Dale Grundle offers us a more worldly wise look at their domain through the precious melodies of songs like Come Around and Aqualapping where Lemon's sweet, airy harmonies lie between The Sundays and 10,000 maniacs. The addition of sharp guitar feedback and jazzy chords courtesy of newly recruited Jonathan Lord also fill out what could have been well written, but hollow sounding songs. This is sensitive music without being tear-jerking mush and gets a strong backbone from clever brass arrangements on Deflect and the instrumental unlisted closing track. The overall result leans slightly more towards a standard folksy rock sound (eg The Frames DC) than to customary singer-songwriter territory. It's unlikely that any of Catcher's material will ever feature greatly on karaoke song lists or that recording Christmas songs with Boyzone could be high on their agenda. Then again, stranger things have happened! However, cover versions of their memorable songs by hip young acts who probably aren't even born yet are highly probable in the distant future. Conflicting with this record's title, stooping to fit into the top 10 singles chart is the last thing you can expect from this band. What you can count on is steady stream of delirious songs leading onto another well crafted album which probably is written already. Considering the nature of the fickle music biz beast, if and when we get to hear it is anyone's guess.