Rockabilly-psychobilly performers tend to be in a confined space of voluntary stylistic constraints. They can be described as a kind of cube, the faces of which allow you to keep a template belonging to the style. Some people are firmly impressed by the punk influence, while others cling to the edges of the traditional retro sound. Very often, a glass cube cannot withstand the pressure of a growing musical organism and breaks into pieces. After all, when you like to rebel, no one orders! This whole claustrophobic metaphor best fits one of the most curious female-voiced gangs of the last decade, Bonsai Kitten.
About a couple of months ago, I heard a story about “bonsai kittens” from one of the young voices on YouTube: a post-ironic degenerate joke from the early Internet. They say if you put a kitten in a special jar, you can grow an animal in the form of, for example, a cube or a ball. An extremely dubious joke with a touch of violence against animals.
The name of this not-so-witty prank was taken by the guys from Germany, led by the red-haired Tiger Lily Marlene.
And yes, you can immediately write in the comments that this is the first time you’ve heard of a website with square kittens. I myself have sincerely thought all these years that this is just a cross between samurai aesthetics and all of us much-loved purrs. All the questions seemed to be covered by the cover of the first album, which featured a Japanese schoolgirl with a katana.
Bonsai Kitten (2007)
However, in the very first release, which is not yet full-length, the reference is visible to the naked eye. The 2007 record itself has its own charm. A vivid example of “a little more than a demo”: when everything is already very good, but not too confusing. Separately, I would like to mention the rhythm section consisting of a drummer under the pseudonym Alexx De Large and double bassist Maggi Maggraf. The latter, unfortunately, left the team after this incident.
Download or listen online EP Bonsai Kitten (2007) mp3
The debut EP offers an example of diversity among demos. There’s a typical psycho-punk action music for the band in the future, Don’t You Get Too Drunk To Fuck, a catchy shuffle That’s Why The Lady Is A Vamp. And then there are four very diverse covers, reminiscent of such German cover artists as Boppin’ B or, for that matter, The Baseballs. To harmoniously fit Pat Benatar, Alice Cooper, Depeche Mode and some very underground German punk band into the big leagues on one record.
Done With Hell (2011)
I’m sure that you, like me, got to know the band through this album. The first full-length album came out very typical of the psychobilly scene of those years. Despite the fact that it sounds very average and somehow impersonal, it is impossible to forget these compositions. But I tried, because I can’t stand this record!
I am frankly annoyed by the lyrical heroine. This nasty cross between hubris and inside-out emancipation creates a very repulsive impression. It was as if instead of Imelda May, I got to a concert by Lolita Milyavskaya, who is accompanied by musicians from the Sektor Gaza.
The instrumental has also become much more boring, which probably happened due to the replacement of the guitarist and bassist. However, with all the disadvantages described, the harmonies from this record are written on the subcortex as native and, in fact, this is very good simple music with a decent level of depth. I really like Please, Mr. Jailer and Virgin Suicide. Perhaps it’s all about the lack of Lolita Milyavskaya’s spirit in these songs.
Welcome To My World (2012)
Despite the egocentric name, next year’s record sounds much more interesting and attractive. Having swung a little more clearly towards the punk side, the kittens began to sound much more diverse, and Marlene’s protest attitude began to look like protest, not narcissism. It’s not enough, in my opinion, but it’s personal.
Download or listen online Bonsai Kitten – Welcome To My World (2012) mp3
There are very beautiful melodies here, like in Un, and the lyrical heroine is now more like a Disney villain. A vivid example of this is Life Is A Bitch and So Am I. That is, the whole trend has become more escapist and less burdensome with its very important revelations. I also want to mention Zombie Mafia, Until It Sleeps, and the presence of original items from the first EP. I would say that in some ways this is a return to the original idea, if there was one.
Occupy Yourself! (2014)
The third full-length album released a couple of years later is quite rightly called the peak of the band’s “psycho period”. I’ll tell you why very soon, but for now it’s time to enjoy this record. After all, “Occupy” is the most mature-sounding work. That’s the standard “adult” sound without all sorts of frequency crossings and arranged kinks. Musically, there is a charming variety of themes and motifs that all remain in style. Yes, this style tends much more towards punk, but it still maintains a balance. About the same as Koffin Kats.
The Ocean is the opening song full of nautical romance, no worse than the Blue Cats. The punk parting words Take It Easy But Take It fills with vital energy. Heartcore impresses with a noir shuffle in the introduction and a peculiar wordplay. Me, Myself & Why and Setting The World Ablaze delight with the contrast of verses and choruses. Another Lie, I Can Give You Love and the title song Occupy Yourself are pleasantly loaded with a protest minor, somewhat reminiscent of some Oi–style songs. They also include the final Loaded Gun.
Unfortunately, the edge of punk rock turned out to be too attractive, and in a sense, this is Bonsai Kitten’s last album as a psychobilly band.
Mindcraft (2017)
Released three years later, Mindcraft has gone stylistically too far from anything that can be described as something akin to our subculture. Only Marlene and Alex remained from the original line-up, and, apparently, the duo of the drummer and vocalist is not enough to maintain a certain vector.
From the point of view of garage alt-rock, this is generally a good record. There are some interesting tracks, such as the Japanese-language Haruka Kanata. The Mindcraft opener is generally pleasing with its haunting chorus. In general, there are a lot of simple, unsophisticated melodies here, and in general, the album is perfect for a punky-funky mood.
Love And Let Die (2020)
In the subsequent album, released in 2020, the style has changed quite dramatically. Now only the rare ghosts of individual rhythmic patterns, which were given to Alex by the new all-metal drummer Markus Reinke, reminded of cycobilly. The new line-up turned the kittens into real metallers (when you had a drummer playing in Destruction, it could not be otherwise) with blues-rock roots.
Yes, almost like Danzig, only in the actual sound of the twenties. And.. it turned out just fine! The fact is that in the context of saicobilly, Bonsai Kitten have never been a very powerful team. Always looking for their place in this cramped jar, Marlene and the guys, completely different guys, found it when they managed to break the jar.
Let It Burn (2023)
The team’s latest full-format album has become even more metallic. So much so that the updated Marlene team is closer to Doro than to anything billboard or even punk. And just like last time, she looks great in this role. The song about smoke and mirrors is a real masterpiece.
Nevertheless, although in my opinion the saiko bonsai period is very difficult to call outstanding, I am sure that many female-voiced teams put Marlene among their inspirations. After all, she’s a great vocalist and a real rebel. Sometimes, to find yourself, you need to become someone else. This is what demonstrates the creative path of bonsai kittens.
