There’s something about Kita Alexander’s way of making songs that makes you want to listen over and over again.
The Northern NSW artist’s new single I Miss You, I’m Sorry is quite likeable from the moment she opens her mouth, but the ferocity of the beat once the chorus arrives is addictive.
Produced by Josh Fountain – the co-creator of the BENEE smashes Supalonely and Glitter – Kita’s single marks another excellent release and she has no plans to stop doing music this way for a while.
To chat about how it came together, Nic Kelly’s in bold, Kita Alexander’s in not-bold.
How have you found being in your part of the world through these last few months?
When this all went down, I was just so grateful that Owen and I were both in the country. Since then, I’ve felt that I’ve been in a bit of a bubble, in a sense. And Byron actually didn’t get hit with all the backpackers and people that travel to and fro that we thought it might. So it’s been pretty good!
Let’s talk about this song. It’s so good. I love Kita songs because they always have a surprise in store. You know they’re going to be good. And you can tell from the very start of the track that it’s going to be good, but then you get to that hook, and the drum just starts DRIVING forward. Is that a conscious thing that you try and do with the production side? Do you try and leave little easter eggs scattered across the song?
Definitely. When there’s all the back and forth with producers, it is a really conscious thing to cut a lot of production elements from the song really early on. But a surprise – I never thought of it that way. But I do love it. And I’m not someone to do ad-libs at the end or have a huge drop, but I do like the song to build.
It’s almost like instead of adding stuff to it, it’s a stripping back process to let those big things rise, right?
Yeah! Usually in the studio, we’ll go ahead and put everything in then producers, when they have a couple hours after we work together, they’ll do some additional work and then send it to me, and often I’m like, “hey, let’s take all of this out, and then leave it to the end.” So yeah, it is a surprise!
Is there anyone that you can pinpoint that has kind of inspired that approach?
I’ve never taken it from anyone in particular. It’s just always been something I’ve liked to do. But 80’s music has always been a huge influence for me. I’ve kind of stopped bringing those songs to sessions as ‘inspirational songs’. I’ve tried to listen to more modern music to get some inspiration, but yeah, those sounds and elements in a song will always be there for me because that’s what I gravitate towards.
Very timeless. Tell us about this video, it’s very cute. Was this the planned video? Was this what you had in your head initially?
At first, we weren’t going to even do a proper video, it was going to just be filmed on my computer, me lip-synching and we were going to try and do graphics in it and stuff. So, but then restrictions kind of eased up to a degree so we could get a few people to work on the video. But we still just had to make do with what was around, you couldn’t travel, we had to use the people who were close by and then director was on FaceTime sitting on top of the camera and we didn’t have as many people on set as we normally have. We winged it.
Did you enjoy the slightly less chaotic nature of making that video? Or do you kind of enjoy the sort of community that happens when you build a video?
I do like that community, because I like bouncing off a lot of people for ideas. The more intimate settings kind of make me panic!
And also you’ve got your hype people! You need your hype people around. So now, we’ve got these songs. We’ve got this beautiful track. What comes next?
I’m really content putting out tunes. There’ll be another single pretty soon. And especially in this climate, no one really knows what’s going on. I think for me, since COVID, I haven’t felt the desire to necessarily to release an album because I’m like, “when will we be able to tour it?” It’ll open up eventually. But I think right now, singles that can go on the radio, I’m happy doing that. And that’s kind of working. I think when I can tour my first album – because it’s going to be a first album – I want to be able to tour it and I want to be able to do a good job of it.