What you see
and what you get
aren't quite the same
as what you'll let

Catlow is not quite pop. There's too much of the world in her to be pure pop: she's influenced by jazz, experimental music, new wave, punk, pop and everything in between. She was trained as a classical pianist but her music is more blippy synth. Her chords are unconventional. Her power-pop songs are intimate, embracing the small things scattered throughout life—the small things that matter. These songs have helped Catlow burst through the bounds of not-quite-pop music into pop culture, appearing on era-defining television shows like 24 and The L Word.

Catlow is open to the world, lending her diverse interests to her music, be it work in film and television or helping the elderly—all this influences her songwriting. And she writes a lot of songs; she writes more than she knows what to do with and then comes back to them, a year later, maybe two, recycling, rethinking, introducing new influences and evolving—an album can span several years' worth of writing. And she's not afraid to pun.

Catlow is worldly, having recorded in both Vancouver and L.A. and having collaborated with producers and musicians associated with Broken Social Scene, Matthew Good, Bran Van 3000 and k-os. She plays with talented musicians and amazing people; she taught one of the musicians in the band to play piano just because she likes her and wanted to play with her. That's just how she is.

Catlow is freedom. Embrace her.

Catlow is indie-pop musician Natasha Thirsk, formerly of the Dirtmitts. And yes, Catlow is also a 1971 western genre cult film starring Yul Brynner and Leonard Nimoy, but that's not really super important.