Lapcat is comprised of Cate (vocals), Jonas and Jean-Jacques (all things that make sounds).
She's Bad is the third full length offering from the intercontinental (Swiss-American) trio known as Lapcat. She's Bad is Lapcat's most mature effort, and it's approaching perfection. From the spellbinding opening song Baus, – it weaves a deep and nuanced emotional tapestry that lingers long after the last song is snuffed out.
The album conjures a grainy and dusty feeling – the images flicker and shine as if reflected from a silver screen and give shape to rich emotional landscapes --vivid, yet dusky snapshots of enchanted, faraway places. Cate's breathy, beautiful, hypnotic voice literally takes you there. You can almost smell biting sage and the sweet scent of lavender in your mind; feel the coarse textures of dry, cracked adobe, only to witness the contrast of illuminated cities and night-scapes rise in their sparkling glory like mirages from scorched asphalt. There is a real sense of polarity in the album, a dichotomy of the modern metropolis and the vast open vistas of the Southwest. This tension between nature and city is a thread running throughout the entire LP. There is a strange balance struck between European electronica and the songs of the Southern United States. The record is pensive, seasoned with a mild melancholia and longing, yet still hopeful. It's as if it was documenting a sun-rise in slow motion, which fully arrives in its redemptive glory, on the closing track of the record, aptly entitled Walk Away. She's Bad is an intimately told, subtly written love story about life.
80% percent of the material was written and recorded in spring, and everything was finished June 2016. There were 25 instrumentals brought to the first session, which Cate freestyled her way through for 3 hours straight one night, not even leaving the booth. The best takes were selected afterwords and became the anchors for final arrangements. Other songs, like Baus, came out fully formed. Very few plug-ins and virtual instruments were used. Most of She's Bad was played live (guitars, synths), sampled or programmed on hardware machines. This is why this record breathes and feels so warm, familiar and uninhibited, is because nothing was forced – the music just flowed.