Rob Dickinson
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Many will recall Britain’s Catherine Wheel as one of the most range-roaming, seminal and viscerally intense alternative rock bands of the ‘90’s: “Eat my dust, you insensitive fuck,” purred silky vocalist Rob Dickinson on the band’s 1994 release Happy Days.
In Dickinson, the band possessed a songwriter and lyricist of rare talent with scalpel-sharp statements emanating from gorgeously epic songs such as their breakthrough, the feedback-soaked “Black Metallic” (“…it’s “Like a Hurricane” for the ‘90’s,” drooled the NME). This song in particular heralded Dickinson’s ability to skillfully knit together romance, wit – and power! - in the music. Through constant evolution and a steadfast refusal to repeat themselves, Catherine Wheel grew into a swaggeringly assured, devastatingly effective, scene-setter of a band.
Criminally overlooked, (Rolling Stone famously sub-editing the review of the band’s 1997 masterwork, Adam and Eve, down from 4-1/2 stars to 3-1/2), never was a band so influential and yet so invisible. Catherine Wheel quietly unleashed six brilliant albums, all an artistic development of the last, and all reflecting a musical force that could crush any band that dared share a stage - ask Radiohead or The Smashing Pumpkins about that.
And then the band vanished. No word, no explanation, no fanfare, no farewell, no best wishes, no ‘best of’. “People were no longer paying attention. Going out with a bang seemed a little inappropriate,” says Dickinson dryly.
In Dickinson, the band possessed a songwriter and lyricist of rare talent with scalpel-sharp statements emanating from gorgeously epic songs such as their breakthrough, the feedback-soaked “Black Metallic” (“…it’s “Like a Hurricane” for the ‘90’s,” drooled the NME). This song in particular heralded Dickinson’s ability to skillfully knit together romance, wit – and power! - in the music. Through constant evolution and a steadfast refusal to repeat themselves, Catherine Wheel grew into a swaggeringly assured, devastatingly effective, scene-setter of a band.
Criminally overlooked, (Rolling Stone famously sub-editing the review of the band’s 1997 masterwork, Adam and Eve, down from 4-1/2 stars to 3-1/2), never was a band so influential and yet so invisible. Catherine Wheel quietly unleashed six brilliant albums, all an artistic development of the last, and all reflecting a musical force that could crush any band that dared share a stage - ask Radiohead or The Smashing Pumpkins about that.
And then the band vanished. No word, no explanation, no fanfare, no farewell, no best wishes, no ‘best of’. “People were no longer paying attention. Going out with a bang seemed a little inappropriate,” says Dickinson dryly.
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