With a childhood education of classical music in Belgrade, followed by teenage years spent playing in orchestras around Toronto and a later interest in electronic composition, Kat Duma has been surrounded by music for as long as she can remember. Experimenting with sounds, she learned to trust her ear and go with what feels right. This method has continued to follow her through her career, from the songwriting and production process to visual designs and performing on stage.
Always experimenting, Kat has moved into a dub and folk-infused pop sound that is hard to define as one genre — evident in her new album, Real Life. A project that sounds more like herself than any past work, she has truly come into her own power with this one. And we are so lucky to hear it. Exploring themes of spirituality in the modern world, and the otherworldly amongst anxiety, she combines reality with imagination for contradictions that are bound to spark conversations. Potent, atmospheric, and one-of-a-kind, Real Life is both expansive and intimate.
We had the pleasure of speaking with Kat about her influences, pushing boundaries, and Real Life.
Stream the album…
And now for the interview…
Who and what influences you to create?
I don’t know if it’s possible to narrow it down specifically, because inspiration really can strike at any moment. It can be triggered by a scent, a memory, a conversation… Sometimes the most mundane interaction will unlock an idea which makes me completely change course creatively. So in a way it’s everything and also sometimes nothing.
How did you first find this sonic pocket that you are creating in?
It was an organic process that involved a lot of experimentation and non-judgmental exploration. I was listening to a lot of different music at the time and playing around with different instrumentation. Eventually I began to find textures, sounds and techniques that I felt really resonated with me.
You are really pushing the boundaries of genre with your sound, how would you define your artistic essence?
Fluid. I think people are complex and despite our best efforts we always escape categorisation, so I don’t think it’s surprising for music to do the same.
Much of your music feels like it revolves around building an atmosphere and disorientation, what are you trying to convey through that?
I like when songs feel immersive. I feel like songs with distinct atmospheres create a sense of fantasy, maybe that’s what I’m drawn to. There’s also a certain vibe I love – maybe it’s disorienting, maybe it’s just a little off-kilter – but ultimately I’m just trying to make something that feels interesting to me. I want to feel like I can get lost in it.
You’ve achieved great success as a DJ, what is it about spinning decks that entices you?
Thank you, it’s really only that I love sharing music. When I DJ or make a mix, I don’t really feel like it’s about me, it becomes about the songs and the artists who created them. I’m just tending to the vibe.
We are hearing a lot of noise about the Toronto scene, what’s your impression of it?
I think it’s constantly evolving. At times I feel very connected and other times like a total outsider, but there are a lot of really talented people here. I think that sometimes the city can feel really stifling – it’s hard because the cost of living is so high. But despite that, or maybe in spite of that, people continue to create really beautiful and inspiring art.
Who should we be listening to from there?
Talvi, who also took the photos.
Thermal, I love this video. And also Lauren designed the packaging for the album.
Ben Stevenson – you can hear his excellent guitar playing all throughout the album.
Blunt Chunks, I love this song.
God’s Mom – a new band. Really good.
We loved your recent project Real Life, what was the thought process when you set out to conceptualise the album? What did you want to achieve?
Thank you! My main thought was that I wanted to make a longer form of work that sounded like myself, which I think is a lot harder than it sounds. Especially considering it’s a pretty significant departure from music I’ve made in the past, I wanted to capture more organic sounds while still incorporating elements that felt unique to me. In a way, “sounding like myself” became an unfolding process of finding out what that actually meant.
What was the writing and creating process for the album?
In a word – long. I took many different approaches when writing, and each song on the album had its own unique genesis. Some would start with a sample, or maybe a drum beat, or a lyric, or a melody. There was no predetermined method. I would try to look at the song from different angles – playing with structure and form, refining, then re-refining lyrics, adding/removing instrumentation, until eventually it became what you hear now.
What are you touching on thematically on the project?
I was focusing on the interplay between imagination and reality, and also exploring how these ideas influence our perception of the world. I feel like particularly the concept of hyperreality – like, the inability to distinguish reality from simulation – was significant to me when thinking about this. With media becoming more commonly distorted, I think we’ll really need to start relying on our instincts to find the truth. To me, intuition often feels more real than what I can reason logically. But that’s not to say that I necessarily think of this as negative – on the album I play with this concept by, for example, flipping a vocal and editing it to sound exactly like a flute. I just think it’s interesting.
How has the reaction been?
It’s been really touching hearing how it has connected with people. The reception has been diverse too, which is inspiring for me. I find that the most interesting albums elicit that kind of reaction – where one person’s favourite song is another person’s least favourite, etc. I feel like it reaffirms the purpose for me, especially in an era that prioritises the release of singles over longer form work.
What do you want listeners to take away from the body of work?
I think as an artist, it’s not really my role to dictate what people will take away from it. I hope they find their own meanings. Maybe it sparks reflection or provides a momentary escape from reality… I just want listeners to connect with the music on a personal level, because it is really personal for me too. Beyond that, I’m happy for the songs to become a part of the listener’s own individual journey.
Where do you want to take your artistry?
I honestly want to focus more on collaboration – doing this album was at times lonely and I think I’ve proved to myself that I can do a lot of things – but I don’t know if I necessarily want to do everything going forward. I’d also love to work with artists across media and incorporate more visual elements into the project as well.
What’s to come from you?
New music, more shows, more visuals.