For those of you that crave individuatlity and alternative artforms or for all of those had cases out there that complain that electronic music isn't hard enough, Fetish contains 21 tracks of psycho-industrial strength, unrelenting passion noise that redefine the terms inventive, futuristic, original and loud. Cat Hope, of Lux Mammoth fame, samples the resonations that are ex4rted by her trusty bass guitar, manipulating the output with effects and masterful trickery. The result of these sonic seductions are intermittent melodies escaping momentarily from the subliminal frequencies that line the multi-dimensional surfaces of possibility. Listening to the manic sound-scapes, bubbling and revolving along with strange, cyclic, looping sensations, you become dissociated form all known forms of sense and feeling. Soon you will become immersed in a transcendence of unique proportions, numb and singular, fragile, fried and dazed. We all have our fetishes! The question is - is Cat Hope yours? Danny Holness ZEBRA MAGAZINE "Drippin' Wax" Issue 058

"Cat Hope has developed a unique set of chops, a powerful stage presence, great control of feedback, she also knows where number 11 is on the volume control of her amp, making her probably the noisiest woman that I've ever heard on a stage anywhere" Jon Rose, Australia Ad Lib, 2001

"... Cat was great - the whip on the guitar and the gloves and the dress and flowing hair - I can see why heralbum is called fetish. I liked how there were quiet moments then superfast strumming of the guitar - her hands were a blur. for me it was like watching a talented turntablist cut up the decks, hands whirring, sounds not quite matching the speed of the hand movements because they are blended together. and I've never seen anyone control the feedback like her before! boldly going where no other artists like to venture.. in front of the speaker with a mic.." Kath - Radio Pulse

Thanks to Cat Hope for mesmerising us with her scary beauty (and her pulsing bass!) Lloyd "Diaspora"

"...queen of bass, Cat Hope ..." Time Off magazine CLEVELAND TIMES, USA by Robert Beveridge

Last, and worth the wait, was Cat Hope, from Australia. Another who helped make her stage presence known with a dress that was cut to the point of obscenity (my god, that woman's got some seriously muscular thighs), but in Hope's case, it couldn't take your mind off the noise. Being slowly dismembered wouldn't have taken your mind off the noise. Using a bass (seemed detuned to me, but I could be wrong), a number of effects pedals, a small sampler, and a laptop, Hope ended the night on a quiet note?? at least, quiet as far as Speak in Tongues shows go?? but that didn't stop the crowd from registering, and gaping at, the unbridled ferocity of one woman and her bass guitar. Subsonic rumbles, feedback, minimal beats (supplied by the laptop) all combined to form a kind of soup that merged beauty and ugliness in a quite original way. I like what Cat Hope does, I like it a bunch, and hopefully we'll be hearing more from her as time goes on. Rochester NY USA- RADIO STATIC -Keith

Cat Hope, the last performer, was like nothing I've ever heard/seen. Walls of feedback and raw noise generated by a bass and some effects boxes. This had to be the most "extreme" act of the night, in terms of sheer abrasiveness and sensory overload.