Audiopile Review: More digging in the depths of the extensive Cat’s Miaow back catalog from World of Echo, one of two new releases from the imprint that we have in this week. While their previous comp, Songs ’94-’98, took on the latter half of the Melbourne outfit’s catalog that preceded their eventual shift to becoming Hydroplane, Skipping Stones tackles their vital and prolific 1992-93 era, which saw no less than four full length cassette releases, most hopelessly unfindable beyond Australia. Compiling a whopping 35 tracks across this 2xLP set, Skipping Stones is stunning survey of one the most underrated bands of the early ‘90s DIY indie rock and pop underground. The awe-inspiring amount of material released in this two year period showcases a band that feel restless as they explore every angle of their DIY indie rock confines—C86-style burners, hushed bedroom folk, post-shoegaze dreamers and jangly preciousness. Big recommendation for fans of Galaxie 500, Black Tambourine, Belle & Sebastian, or The Softies.

“An even deeper pass through the archives of The Cat’s Miaow, Skipping Stones is a welcome follow-up to 2022’s Songs ’94-’98, which pulled together material from seven-inch singles and compilations. Diving into the four cassettes that the group released over a two-year period, Skipping Stones is full of surprises, rich with unexpected and inspired detours, while reminding everyone just how clear and distinct The Cat’s Miaow’s music was from the very start. Looking in from the outside, they always felt like a group that knew just what they were doing, but intuitive as they are, they weren’t forcing anything: these songs always sound exactly what they need to be, rough edges, playful moments and all.

It’s also a fascinating snapshot of one arm of the ‘international pop underground’. While they were clearly listening to music from the US, UK and elsewhere – there are glimpses of Galaxie 500, Spacemen 3, Beat Happening, and The Pastels in some of the songs here – The Cat’s Miaow also feel, consciously or not, part of a continuum of Australian underground pop that takes in The Particles, The Lighthouse Keepers, The Cannanes, The Honeys, Even As We Speak, and The Sugargliders (who they would cover several times). Like those before them, The Cat’s Miaow balanced opposing forces in their music: naivete and knowingness; fragility and strength; worldliness and world-weariness; play and seriousness; heartache and pleasure.” -Boomkat