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Like many other British guitar bands of the early '90s, Catherine Wheel relied heavily on distortion as a way of creating texture and using their airy vocals as atmosphere. While their melodies are actually quite straight-forward, they are submerged in layers of guitar effects and droning chords. Like <a href="spotify:artist:3ysp8GwsheDcBxP9q65lBg">Lush</a> and <a href="spotify:artist:0WPY9nnBy01s5QOt4o4oQX">Ride</a>, Catherine Wheel's blend of hooks and white noise are pop songs, not free-form explorations with a floating melody. It is that quality that created a buzz in Britain around their first EP, She's My Friend, in 1991. Their subsequent two albums, 1992's Ferment and 1993's Chrome, earned them a solid fan base in England. The heavy rock attack of 1995's Happy Days increased their following in America; Like Cats and Dogs, a collection of B-sides and unreleased tracks, followed in 1996, and a year later, Catherine Wheel issued their fourth studio LP, Adam and Eve. After a four-year hiatus, the band resurfaced with Wishville, their first album for new label <a href="spotify:search:label%3A%22Columbia%22">Columbia</a>. ~ Stephen Thomas Erlewine, Rovi
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