During ‘Foxes’ , MGMT spring to mind as a possible reference point for Cats In Paris – a stranger, English version, though, and with Michael J. Watson’s swirling vocals and psychedelic synths, Manchester has certainly discovered something. However, the comparison sells the experimental four-piece short. Their set darts from disjointed folk through fidgeting electro, prog-pop and even Fight Like Apes-style barroom bawlers. Watson’s crazed stare, wild dance and mutating tracks add rare curiosity to their live show. Playing at a club night is never an easy proposition for a band as divisive as Cats in Paris and yet they pack Proud’s stable yard. This is not a band for the mainstream – parts of ‘Foxes’ aside – and in the crowd there are whispers that this is far too instrumental. Where are the catchy lyrics? It appears that Britain’s desire for solid rock drags on. A joyous mingle of all that is inspired in modern music, this is mind-blowing, abnormal sound.

Weird and wonderful morsels at the start of ‘LoveLoveLoveLoveLove’ draw out in to psych vocals and addictive keys before a hard, warped electro line floats away into the crowd. This ode to Grandaddy is something else. Always on the move, their music never stops improvising and digging up emotion. The screeching violins of ‘Cold Products’ doesn’t help those who like an easy listen but it’s Sara Beard’s backing vocals that really jar your head. There’s something epic in the constant movement of 2008 debut Courtcase 2000, from the nightmarish buzz of ‘Button (Part One)’ to the beautiful folk suddenly swarmed upon by an eruption of sonic Tetris beats in ‘Goojfc’, which return on the bouncing and infectious ‘Loose Tooth Tactile’. MGMT remixed by an English madman equals mind-boggling music for an offbeat starved England. The leading lights on Manchester’s sublime Akoustik Anarkhy label, Cats in Paris’s cosmic soundscape will intoxicate your mind. Ben Rimmer