Devised as an accompaniment to Issue 4 of the Kitty Kant Zine, Compilation Volume 2 is full of amazing artists, and is an inspiring example of the beautiful things that people can create when they work together.
The compilation gets off to a tremendous start, opening with the bubbling and brooding — but also rather spikey and sinister-feeling — “Cops vs. Kids” from New York City trio The Life of Mars. Like Modest Mouse collaborating with The Hold Steady on a cover of Pavement song, this is angular, jaunty and atmospheric. The Life on Mars specialises in wonky, lo-fi, garage-rock, and post-punk, and on this track alone you can also hear influences from acts like Wire, Heatmiser, Sonic Youth, and The Velvet Underground. As far as opening tracks go, this bodes very promising for the rest of the compilation.
Nashville trio Palm Ghosts follow with their tune “Influencia”. With a distinct blend of indie, post-punk, and new wave, their vibe is dark and classy. The instrumentation is excellently executed and the production is, frankly, astonishingly good. Sounding at various points like early Vaccines, The National, U2, Bloc Party, The Courteeners, and peak-Kings Of Leon, this is an incredibly effective fusion. A potent blend of familiar elements but with a distinctly personal stamp, their sound has obviously been honed from years of practice (the band have been around since 2014, after all) and they clearly know what they’re doing. More of the same, please.
The fantastically named Marley Wildthing is up next with a demo version of her song “Rodeo”. An artist and multi-instrumentalist from Austria based between Vienna and Prague, her sound incorporates little bits of lots of other artists. We hear Kate Bush, Joanna Newsome, Martha Wainwright, Jenny Lewis and The Watson Twins, and even Sabrina Carpenter in this piece. Full of personality, charm, and ambiance, Marley builds worlds with her sound, creating an environment in which you find yourself wanting to bed down, get cosy, and stay a while. Hell, we might never leave.
At the complete opposite end of the musical spectrum you’ll find the Tallinn-based quartet Avemaria and their live rendition of “Hardstail”. Opening with an epic isolated guitar, it’s quickly joined by some gargantuan, almost-operatic female vocals and music that sound like a mixture of post-punk and European folk. The rhythm fluctuates and the pace quickens before coming to an abrupt halt and picking up again. There is even a moment where it takes a reggae-infused left turn. All in all, it’s a heavy-hitting post-punk tune with undertones of ska and folk. If Siouxisie Sioux ever worked with Gogol Bordello, it might sound something like this.
“Lucky Ones” by Brooklyn band Smoltz begins with guitar chords that remind us of Sonic Youth. The intro is choppy, loose and free spirited. Then it kicks in and everything gets — for want of a better expression — dirty as fuck. A fuzzy J. Mascis lead tone cuts through the noise with the backing sounding distinctly indebted to the ’90s. Roll grunge, shoegaze, punk and alt-rock into one, and you’ve pretty much got the sound of this song. Whilst undeniably old-school leaning, the quartet reminds us a lot of more modern bands like Yuck, Planet Waves, DIIV, Cold Comforts, and Lozenge, and – taking this song as evidence alone – they are one of the best doing it right now.
Reverse Machine is the solo musical pseudonym of Estonia-based Zaur Babayev. Originally from Azerbaijan and now residing in Tallinn, he makes a unique fusion of alternative rock and electronica. “Mouth Issues” is about trying to succumb to desire and enjoy closeness, but the conflict that comes with knowing that it’s not real. The music reflects the complicated feelings, the internal battle, the feeling of striving for something. It’s the soundtrack to wondering why we do what we do. It’s frantic, feverish, and excited, but also anxious, confused, and foreboding. Somehow, it sounds like how one might feel in the situation described above. This is a carefully considered and excellently crafted piece of work.
Up next is friend of the label Greg Gobel, who is of course a songwriter and musician, but who also moonlights as an author on our blog. “Track Mud On Someone’s Carpet” is a rootsy, rollicking, hopped up hybrid psych-folk tune. Well, it starts that way, but it eventually descends into full-blown punktry (punk + country, naturally) chaos. Originally from Cleveland, Ohio and now living in Prague (quite the upgrade, we imagine), the unmistakable, unshakeable Americana vibe bleeds through instantly, but it is warped and mangled almost beyond recognition. The song is literally about making a mess, being authentic and true to yourself, and not conforming to others expectations of what you should be. We reckon Greg’s got it down.
Up next are another Tallinn-based band. Cottonmouth are a quartet who — we’re told — specialise in rock music, but their song that’s included here — “Поток” (or “Current” in English) — is folky, downtempo, and dark. In the context of this compilation, it acts as a distinct — and rather timely — change of pace. Eerie and atmospheric, it has a very specific sonic palette — deep bass, bright acoustic guitar, ethereal vocals, echoey and pared-back percussion — that paints a vivid soundscape. The mood is sorrowful, ghostly, and pensive; the identity of the tack is established from the very first notes and carries confidently throughout.
Another Prague-based act, hard rock quartet Deaf Heart — with their song “Carved in Stone” — acts as a defibrillator blast after the serenity of the last track. Hyper distorted guitars, thunderous drums, and dirty bass come together to musically punch you square in the face. Full of attitude and conviction, this really is Rock Music in the truest sense of the term. But there’s also a very modern electronic undertone that’s hard to put your finger on. It almost feels like a touch of Pendulum, Strange Bones, or The Prodigy has been thrown in there somewhere. Fundamentally, it’s the sound of boisterous rock buoyed by layers of digital dirt. The two work wonderfully together to make for a tune that you’re not likely to forget anytime soon.
Boulder, Colorado’s Cloud Physics (the musical nom de plume of songwriter and producer Kyle York) is up next with an instrumental piece entitled “Geese Flying Overhead”. Well, it’s instrumental if you don’t count the squawking of geese as singing. The song is seemingly an electronic patchwork of field recordings (the aforementioned birds), synths, and careful production. The resulting tune is an ambient work that feels like being dropped into somewhere else. According to the little info we have on the artist, “the music aims to create distinct, self-contained aesthetic worlds within each composition.” He certainly nailed the brief on this one.
Prague-based duo Pig Lipstick were originally formed in Nashville in 2024. Having upped and settled in Czechia, they have continued making their distinct brand of rock music on this side of the pond. Full of what the Americans call “piss and vinegar”, their music is raw, rowdy, and riotous. “Thin Skin” is a great example. Pounding and propulsive, it feels anthemic, authentic, and self-assured. Musically made up solely of drums and guitar, the duo follow into the footsteps of electrifying acts like Dolls, The Pearl Hearts, Royal Blood, and The White Stripes, and they prove that a smaller band does not equate to a weaker one. It’s quite the opposite, in fact. Consider Pig Lipstick a force to be reckoned with.
From the beautiful Estonian city of Viljandi comes the psychedelic alt-folk/rock duo Araukaaria, with their 2025 single “What Makes Us?” Coming across like a blend of Pink Floyd at their most beguilingly scenic, the spirit of Pentangle, and the artistic ambition of Radiohead, the band are evidently experts at sonic world-building. Big and brooding, over the course of the song’s five minutes, they ask some pretty huge questions. Most pertinently: “What makes us who we are?” We can’t help but wonder about the old “nature vs. nurture” debate. We come to the conclusion that some questions are so daunting that they’ll likely never be answered. But Araukaaria certainly give it a good go, and thoroughly entertain us as they ponder.
Started way back in 2003 in Tucson, Arizona, and now based in Brooklyn, New York, we’re told that Golden Alphabet exists in various guises and configurations, from solo venture to open collective to a classic quintet. On “If You Think, You’re Insane”, the four current musicians meld together to create something quite stunning. Warm, rootsy and earnest, the track brings to mind the work of classic American songwriters like Elliott Smith, Jeff Tweedy, and Conor Oberst. The choice of instruments and the way they combine is absolutely breathtaking, to put it mildly. Particular highlights amongst the mélange of sound are the harmonica, woodwinds, keys, and strings. (At least, that’s what we think we’re hearing, since the sounds mesh together so well!)
Hailing from the Krkonoše Mountains (the highest range in the Czech Republic, don’t you know!) is Tomáš Toman with his beautiful ballad “Neznámá Ze Sudet”. We’re reliably informed that the title translates to “The Unknown Woman of the Sudeten”. Towards the end of the song, Tomáš is joined by a female vocalist, and I like to think that their story ends happily. Musically, the song is dominated by a clean electric guitar which comes across as gentle and tender, with production that recalls the best work of Daniel Lanois. (It’s perhaps even on par with his work on Bob Dylan’s Oh Mercy!) The guitar is joined by what sounds like a cello towards the end, adding glorious depth and gravity to a song that was already good, elevating it to great.
Cloud Physics’ Kyle York returns as his Pink Soda alter-ego for this next song, “Citydog”. Described by the artists as a blend of synthpop, alternative, and EDM, you can see what he means, but we’d also add indie to the list. Where his last piece felt experimental and off-kilter, this one feels more approachable and traditional. This is probably due — at least in part — to the overall absence of geese and the use of easily identifiable instrumentation (namely an electric guitar). “Citydog” is an infectious almost-funky instrumental tune that feels a bit like RJD2 mixed with Curtis Plum. Endearingly honest and unassuming, it feels like a labour of love and reminds us of the charming early work of Hot Chip and maybe even a touch of Nile Rodgers. We can see it used in a scene in some kind of cool-as-fuck indie film.
Up next is the fantastically named Past This Line Lies Newport, “a real band named after a real town”. The “band” is actually entirely the work of one man. Saint Paul resident Vernon Mahoney started the project back in 2015, but plays songs that go all the way back to 2007. Falling somewhere between punk, anti-folk and pop-punk, Short Sleeves feels like a combination of Kimya Dawson, Less Than Jake and Goldfinger. Snotty, spunky and spirited, but also undeniably tender and thoughtful, it feels like a lot is at play here. Regret, longing and introspection come together and are presented in such a way that you might not realise how soul-baring it all is. Therein lies the expertise, you see. Bravo Mr. Mahoney.
We return to Tallinn for the penultimate track: A version of the song “Evening” recorded live at The Art Of Mosh festival performed by Valp[B] and featuring Gleb. A combination of slowcore, noise rock, post-punk, ambient, and spoken word, it feels a bit like sonic warfare or a call to arms. (Albeit an insidious one, passed from soldier to soldier through IRL whispers and in shadowy corners of dark, hushed, smoke-filled rooms.) Of course, I could be way off. It could be a lullaby for princesses or a thinkpiece about ponies. But I reckon that you don’t need to understand the language to feel the vibe. This feels rebellious, fiery, soulful, and authentic to the n-th degree.
The last track here comes courtesy of a band who previously plied their trade in the bustling world famous music scene in Athens, Georgia. Now residing in Prague, The Winter Sounds have crafted a perfect little piece of pop rock. Clocking in at an ideal 3:12, the demo of Green Snow is better than most bands finished articles. It’s more than a bit punky: There’s definitely some post-punk in there, some noticeable indie influences, and even a bit of electronica. It all comes together to make something reminiscent of acts as varied as Gang Of Four, Friendly Fires, Passion Pit, and Death Cab For Cutie. It’s got fantastic energy, interesting instrumentation, brilliant dueling vocals, and irresistible melodies, and really, what more do you need?
And that concludes our track-by-track assessment of the new Kitty Kant Collective compilation. I don’t feel this way often, but I can honestly say that my life has been enriched by hearing this album and we hope that you’ll feel the same way. Now the anxious wait for Volume 3!
Written by Kinda Grizzly
