Kitty has been iconic forever, and her newest work proves just that
Kitty wasn't necessarily expecting her sophomore album Rose Gold to climb to number nine on the Billboard dance/electronic charts this April, but it's a milestone she calls a"cool surprise." The mainstream recognition was a long time coming for the singer, rapper and producer, who recorded her first"big-girl record" Miami Garden Club in 2017.
Yet, even when she's discussing her more frustrating setbacks, Kitty doesn't come across as jaded or bitter. The self-described"renaissance bitch" is a real 21st-century artist, combining a pop sensibility and distinctly DIY ethos and continually asserting herself as more than just a one-off wunderkind.
In 2012, Jezebel even had an entire tag devoted to clowning on"the little white girl ruining hip-hop," Even her own tongue-in-cheek self-deprecation, like calling herself"white and fucking terrible" on"DEAD ISLAND" in 2013, didn't do much to deter critics and internet trolls."That's kind of why I stepped back from it in the first place, because I just was sick of pissing people off," she says.
Social media has also been a means of connecting with her cult following through the years, who, in addition to crowdfunding her first album and regularly flooding her Tumblr inbox and donning merch emblazoned with"STAN KITTY" in black metal font, also contributed Photobooth footage to her 2014 music video for"BRB."
The lo-fi production dampening Rose Gold's more shiny pop elements is just one instance of the sonic contradictions Kitty has played with throughout her genre-spanning career, though such choices may be perennially misunderstood by some critics. A recent album review from a prominent indie music publication, for instance, implied that the production was amateurish, the kind of backhanded jab Kitty has come to expect and remains largely unfazed by.
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