 NEW YORK (CatDesigners Official Website) - Tomorrow Never Knows is CatDesigners' reinterpretation of The Beatles seminal album, Revolver. Nick Troop's third album under the CatDesigners banner was self-produced and was mixed by Daniel Spiller of Shoot the Dog Productions and mastered by Lawrence Gill of Fat As Funk (Dan Lo Fi, Automated Acoustics, The Oracle). Having known this album inside out from the age of 13, Nick Troop wanted to mark its 40th anniversary with something special. This is not simply a series of covers on a single volume by a random collection of bands but a complete reworking of an incredible album by an artist showing love and respect for the original … and not a little playfulness. Nick's brief to himself was to record the 14 songs on the album as if he had written them himself but with the additional proviso that they must not sound anything like the originals. To achieve this Nick drew on influences that both pre-dated and post-dated The Beatles. Nick Troop's first two CatDesigners albums achieved critical acclaim. His debut, Chemical Jazz, was called 'one hell of a calling card' while Strange Little Creature showed a 'fertile mind in overdrive'. Tomorrow Never Knows was arranged and recorded with equal care and imagination but with an even greater confidence in trusting to the creative process. There is a story behind the arrangement and production of each of the 14 tracks on this album. For example, the bass line from Taxman was taken by the Jam and used in a song called Start so Nick took the bass line from a Jam song (A Town Called Malice) and stole it back for Taxman. Yellow Submarine underwent a complete overhaul and emerged as a sea shanty. For No One was dismantled and reconstructed in slow 3/4 time. Got To Get You Into My Life became a Howlin' Wolf blues song. Tomorrow Never Knows was recorded with 3 chords (2 more than the original) and turned into some kind of industrial glam (somewhere between Iggy Pop's The Idiot and Goldfrapp's Supernature). Having heard this album one could be forgiven for forgetting that this is not how these songs were originally intended to sound. That these songs lend themselves so well to such (in some cases dramatic) reinterpretation is a mark of truly great writing by Lennon, McCartney and Harrison. However, that's only half the story. Nick Troop's treatment of these songs really is as if they were his own.
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