WHAT'S YOUR MUSE? Cats In the Basement

It's time for another edition of "What's Your Muse?"

The concept is simple: We ask a band/artist to choose a song that means a lot/the most to them. Then, they record and send us a video of themselves describing why they chose the song. Think of it like a collaborative video mixtape project.

In this edition, we hear from Cats In the Basement.

Chances are, if you have a ton of cats literally in a basement, things might get a little wild. And while actual cats are characterized by strong personalities that are more than likely open to stirring up conflict -- at least crammed together in a confined space like that of a basement -- these particular cats find a way to mix an eclectic range of tones and styles into one agreeable, refreshing mix that is one of a kind. There are bits of indie rock, jazz, tropical pop, punk, surf rock, pop, and more in their sound, which makes Cats In the Basement a rather exciting and adventurous listen. The Sarasota band's recently released record, DOO BEE DOO LA DEE DAY DUM BE DUM DRINK YOUR BLOOD, showcases an infectious fervor that frames their explosive yet sharp tunes; they are at once wildly energetic and witty.

UNDER THE COVERS: Slow Club Takes On Darlene Love

UK folk rock duo Slow Club released one of the year's best albums with their debut Yeah So (ok, so technically it was first released last year, but only received its U.S. release in March of this year). The band also released a Christmas EP entitled Christmas, Thanks For Nothing last year that was finally released in the U.S. yesterday via Moshi Moshi. The 6-song extended player features reinterpretations of two Darlene Love classics. Check out one of them, the Phil Spector-penned "Christmas (Baby Please Come Home)", below.

Slow Club - "Christmas (Baby Please Come Home)"


Slow Club emphasize the rock 'n' roll roots of the song, somewhat minimizing the original's prominent baroque pop sound -- and, yeah, it works quite well. The duo's take on this Christmas classic isn't that much of a far cry from their own material, and it seems like a rather fitting selection for them to reinterpret. The rollicking rhythm, acoustic strumming, and backing choir that characterize the song here all provide an added sense of joy. Both the original and this cover are great. Win, win!

Hear the original after the hop (if you aren't familiar with it already).