Openingbands.com
Jessica Cochran (04/01/05)

"Wetcat's album The Paramecium Kite is not the average fare that we usually get to review at Openingbands. It is not 'indie rock.'
The album consists of ten tracks of electronic music, ranging from dissonant industrial sounds to synth pop. The Paramecium Kite on the whole is very melodic, not just the droning bass beats that some of you may associate with electronic music. There are vocals in every song, but most of the time, they have been so distorted it is impossible to know what the lyrics are. This does not detract from the songs though; it just adds another melody instrument.
This album is very well put together. It sounds professional and the songs don't get boring. I don't claim to be an aficionada of electronic music, but I really enjoyed The Paramecium Kite, and I would highly recommend it. If you want to check out some songs, go to www.wetcat.org, and check out the mp3s."

Openingbands.com
Joe Pence (04/01/05)

"When robots and aliens gather together for sex/interface, Wetcat is their Al Green. No, I'm being totally serious here. Wetcat, alias Gavin Suntop, alias Disco Gavin from Charleton Heston and the Damn Dirty Apes way back in the proverbial day, is at the forefront of some bigtime sensuality except this shizz is not exactly of this same dimension.
"Waiting for a Sign" starts the degaussing with a glitchy 303-beat and hip-hop rapidfire rhyming, leading up to a solo for what sounds like a crazy electric clarinet parsed in a non-Western tonal scale. "G.S.O.D." is grinding industrial roar with the four-alarm dissonance of darkwave paranoia upfront. "Taste is Talent" pairs up a whobbling bass backbeat with scratches and a horns sample that sounds like it was ripped off with class from a 20-year-old Amiga. Then there's the warm Moog-like patterns of "Loving Every Minute of It," which sits just on this side of sincere simplicity from dadaist oddity. "Mount Hope" has its morose drum vibe, its irresistible line "Count Dracula's gonna smack you up," and -- holy shit, is that a guitar?! The multivariate, multifarious components extend even into Suntop's verbal melodies, which range from wacked out yet suave Bowie-esque spoken-word whispers to streams of detached, autotuned vox ex machina, to libertine vocoder-laden harmonics.
This is some serious leftfield. This is Charlie Clouser remixing Autechre for the ill-referenced and a cerebral headjacking for the uninitiated. But if you don't mind your mind turning to moosh, you tune in and realize Wetcat's songs are so many layers of offguard and off-kilter that they become greater than the sum of their many strange parts. Just don't stare at the music too long."

The Hub
Shadie Elnashai (03/10/05)

"The Paramecium Kite is the conceptually saturated brainchild of Wetcat (a.k.a. Gavin Suntop), a brisk and never static effort whose ten tracks last little over 30 minutes combined. It is situated somewhere where psychedelic pop meets synthesized rock and retroelectropunk on acid. Kite is a curious novelty piece, beneath whose polished exterior of proficient programming lies an expressive voice struggling to be heard. The sometimes relentless sonic onslaught-consisting of everything from looped permutations to heavily processed "noise rock" vocals - raises several moments of interest, but it still feels like an artist who, with something to provide, compensates by taking on altogether too much, which misleadingly comes off as contrived apathy.
Thus the artifice tends to overwhelm and distract, but most damagingly does not allow Wetcat to achieve its obvious potential. The detriment is augmented by the fact that this could be a very worthy work. At times a melodic focal point is much needed, despite the potential sacrifice of limiting the dynamic vigor at the core of what is a well realized concept album. The lyrics are at times industrialized beyond intelligibility, a device that facilitates their being woven and assimilated into the musical canvas.
The Paramecium Kite is an excellent example of how when an artist is free from the constraints of a mainstream of major labels, underground independently produced albums can sound exactly how the auteur wished. The downside is that without the rigid imposed framework from which to construct the opus, one is more liable to stray, resulting in an admittedly more honest rendition, but not necissarily one that is as accessible. Nonetheless, this is an encouraging debut release from an obviously capable individual."