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This one lives in the weirder, more playful corner of the Mumiy Troll catalog — a place where imagery becomes deliberately slippery and the expected emotional payoff keeps being replaced by something stranger and more interesting. The production has a slightly rougher texture here, the guitars looser, the overall feel closer to live performance captured with deliberate imperfection. There is something feline in the song's structure itself: it moves unpredictably, doubles back, lands in unexpected places. Lagutenko's voice leans into the absurdist register, delivering the syllables of a lyric that circles around the image of cat and cat with the same detached seriousness one might bring to a philosophical proposition, which is either a joke or not, depending on how you're listening. The chorus resolves with a satisfaction that feels slightly out of proportion to the setup, which is part of the pleasure. Culturally, this kind of oblique, image-driven writing places the song within a Russian literary tradition that runs through Kharms and Mayakovsky — the absurd as a legitimate mode of emotional truth, the non-sequitur as a way of reaching something that direct statement would contaminate. For listeners who want their rock music to make straightforward sense, this will be confusing. For those who have spent enough time in the weirder regions of post-Soviet art to know that confusion can be the point, this is deeply satisfying. You listen to it while doing something with your hands, or at a party that has reached the comfortable late-night phase where nobody needs everything explained.