Kat Says: “These Are My Top Stories Of 2023!”
Interviews with LP Giobbi and Moby, essays about Ed Banger, Ultra going underground, and more.
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Hey Friends,
“And so this is Christmas, and what have you done?”
That’s how John Lennon starts his holiday anthem, “Happy Xmas (War Is Over),” and while it’s certainly the bitchiest of beloved holiday tunes, the former Beatle has a point.
A whole year has come and gone, and as work slows to a crawl and colder air brings us into our homes, we have the opportunity to look inside ourselves and reflect on what this year taught us and brought us, for better and worse.
My 2022 ended on a really hard note, but that only fueled my energy and motivation for the year ahead. This January, I edited and published my first on-site video interview on YouTube (it’s the video you see above), and got into a really great groove with my health and wellness.
I was feeling on top of the world—then I went to the Neon Liger reunion party and dislocated my fucking knee, lol.
I needed surgery in the end—surgery that I’m still paying for—and the month I spent laying on the couch, unable to move, sent me into a pretty dark place mentally. The upside was that I learned a lot about myself, and I wrote a lot about my reflections. It culminated in some of my most personal work to date, and it’s work that I’m extremely proud of.
Today, I’d like to reflect on a year well spent by sharing the 12 interviews and essays I’m most proud of from 2023. Some were freelance articles published in other publications, and some were published right here on Kat Scrawls.
I chose these pieces because they showcase a lot of soul. This year taught me just how important a deep level of passion is in everything that I create and consume. I’ve always sought out and responded to unique perspectives and authentic expression in the musicians I admire, and I’m learning to infuse my own work in this newsletter with even more of that messaging.
I can promise you right now that 2024 will see me committing to that as a bar by which I evaluate everything I work on. I hope you are down to continue with me on this journey!
I hope that this collection of pieces inspires and enlightens you, too, and that you have an incredible holiday break and a fresh start to 2024!
LP Giobbi Aligns the Voices in Her Head on Light Places
(Spin, February 2023)
LP has become one of my favorite artists to interview. I’ve had the pleasure of checking in with her at least annually through the past three years, and she’s always full of infectious passion and joy. Her debut album Light Places was released this year (it’s so good!), and I spoke to her for a Spin feature upon the album’s official announcement.
I conducted the interview in my car, parked outside a random gas station on my drive to Gainesville for Neon Liger, just days before my knee injury. I wrote this piece at the deepest moment of my couch-ridden depression. That lack of enthusiasm is not reflected at all in this piece, which I think might be one of the strongest pieces of writing I’ve published to date.
Excerpt:
As she shares her story, she speaks in rapid fits, laughing and gasping and exclaiming at every turn. She’s also quick to thank the mentors, friends, family and supporters who made her who she is. Without them, she’d never have played grand piano accompaniment to Pete Tong and a full orchestra in London’s O2 Arena in December. She’d never have released an official remix for her idol Jerry Garcia — a love instilled by her Deadhead parents — in January. And she’d certainly never be standing on the precipice of her debut album, Light Places, which was just officially announced.
“Man, ignorance is bliss,” she laughs. “If I had known how much work it would be, and how much every day you have to battle all sorts of thoughts and images—just go to battle every day for your art—I don’t know if I would have done it.
“Luckily, I didn’t know how hard it would be,” she continues. “So I did it, which is great.”
Kat Says: “Not Even Knee Surgery Can Keep Me From Tthhee Ppaarrttyy”
(Kat Scrawls, March 2023)
This is it, my most-read newsletter essay of 2023 :) It’s the story of my trip to London to experience the Ed Banger 20th anniversary party at Printworks in March. The Ed Banger family is strong and unified, and we’re also the warmest and friendliest fandom I’ve ever experienced.
I had a full-on fucking anxiety attack about boarding that plane because it had only been eight days since my knee surgery, but this ended up being one of the greatest trips and concerts of my life. Well worth the lack of sleep and price of admission.
Excerpt:
Max was coming to the show with a group of close-knit friends, all of whom he’d met on the internet because of Ed Banger, either on blogs or forums, even eBay. It reminded me of all the friends I’ve made because of this music, the way I never felt like I truly belonged until I stumbled on this sound and these people.
Damn it, Max! You had me crying in the record store!
“This is what I love, the power of music bringing us together. Where else do you find this?” he said as we stared teary-eyed at the long line of people waiting to get their records signed. “It’s got a religious aspect to it, like going to Mecca. The Justice cross is not for no reason.”
Kat Says: “Sorry For Party Rockin’”
(Kat Scrawls, March 2023)
This is the essay I wrote immediately following my Ed Banger XX story. It’s the story that brought me the most new paid subscribers, so that’s neat! It’s also the story that I think best captures my year as a whole, the way I’ll end up defining 2023 in my memory.
This is a love letter to those of us who have dedicated our lives to music—making it, experiencing it, chasing it, loving it—and what that means as we age and change and grow.
Excerpt:
Dancing is not just something I do for fun. It’s the way I let go and cope with my stress. It’s like therapy, or how church must feel for the highly devout. It’s the escape valve that lets out all the pent-up pressure so I can survive.
I thought it was healthy, but there I was, sinking into the woven fiber of hard pillows, dissecting my own masochistic past, uncovering a sad pattern of self-abuse that maybe kind of sort of led to this moment.
Ultra Music Festival 2023: What Does ‘Underground’ Even Mean Anymore?
(Billboard Dance, March 2023)
March was a particularly good month for me. I was literally back on my feet, and I published a string of fucking HITS! I covered Ultra for Billboard, and because my breakout review of Hardwell’s surprise return to the stage at Ultra 2022 performed so well on the site, they asked me to write a think-piece style review for Ultra 2023.
I spent the first couple of days trying to hone in on a topic, and by day three, I knew what I wanted to say. Someone told me Pete Tong was going around sharing the article as an interesting take, so clearly I struck a nerve!
Excerpt:
The class war between “mainstream” and “underground” dance music fans has existed for over a decade, since EDM roared into mainstream consciousness and many “serious” heads looked on aghast. This era cemented the idea that those who “do their research” have a one-up on the “uneducated” masses, because underground folk have earned some kind of status by way of taking ownership of their playlists, and mainstream music lovers just take what they’re given.
In the greater conversation of today’s U.S. electronic music industry, the “underground” is usually defined as house and deep house, techno and tech house; while the “mainstream” consists of EDM bangers, dance-pop crossover hits and maybe, sometimes, bass-heavy American dubstep.
But after attending Ultra Music Festival 2023 this past weekend (March 24-26) in Miami’s Bayfront Park, and scoping the lineups of large parties at the surrounding Miami Music Week, the so-called “underground” sound has clearly become as popular, if not more so, than its chart-topping counterpart.
Kat Says: “After 13 Trips to Ultra, What Is There Left To Say?”
(Kat Scrawls, April 2023)
This was my 11th consecutive year writing about Ultra Music Festival and WMC/MMW as a professional, and I wrote three stories about it in all. After turning in my two distinct essays for Billboard, I wasn’t sure how to scrape the barrel for my newsletter review, but I got really personal, and y’all really responded to it!
Excerpt:
I was 24 at the time and really overzealous to be covering my first WMC as a professional freelancer of the Miami New Times. I agreed to cover parties every night from Wednesday to Sunday, even though I lived in Ft. Lauderdale and didn’t know anyone in Miami who could let me crash. That meant I was out partying, drinks and all, until 4 a.m. every morning, then driving 30 minutes home, waking up at 6 a.m. and filing my reviews so they could be published by the required 9 a.m. deadline.
It was fun. Seriously. I loved every irresponsible second, but by Friday evening’s first day of Ultra, every nerve in my body was about to burst into flames. I was hungry, completely depleted of serotonin and also really, really desperate to do a good job.
Kat Says: “Once A Goth, Always A Goth”
(Kat Scrawls, April 2023)
I spent a lot of this year experimenting with being more open about my experiences in this newsletter. It’s a strange thing to do. Everyone in journalism school wants to be Hunter S. Thompson and write about themselves as if they’re the cool part of the story, but I always wanted to be more like Tom Wolfe, someone who is so skilled at interviewing that they can recreate a scene with vivid accuracy and place the reader directly into the eyes and experiences of the subject.
I still think inserting oneself into the story is hardly ever the right call, but this is *my* newsletter, so if I was ever going to be awkwardly self-referential, isn’t this the place to do it? Y’all seem to respond favorably, and I’m enjoying the process, so I’m going to keep going.
Besides, I’ve got to get you ready for my own memoir, right? ;)
Excerpt:
From the outside, folks often think goth is some scary, black metal-type, demon-worshiping situation. On the inside, it’s one of the gooey-ist and dreamiest soundscapes you can explore. It’s the connective fiber between post-punk and shoegaze, as much an influence on The Weeknd’s catalog as it is Interpol.
If you’ve ever found yourself sad, frustrated and angry at the world but also incredibly turned on—so like, anywhere between the ages of 12 and dead—goth music is for you.
Moby On Reinventing Some Of His Biggest Hits With An Orchestra and ‘Ignoring the Pursuit of Cool’
(Billboard Dance, May 2023)
That newsletter that tells my personal history with Ultra (the first rave I ever went to!) details a bit about how important Moby is to me as an artist. The chance to speak with him is one I’ll gladly take at any opportunity. He’s an incredibly deep thinker and an intelligent conversationalist, which is why I also highly recommend his autobiographies to anyone who likes that sort of thing.
This chat for Billboard was a highlight of my year, and I turned the recording of our call into my first Kat Drawls Podcast, which you can still listen to if you’re a paid-tier subscriber to this newsletter. May I suggest it? <3
Excerpt:
“It’s like being reintroduced to yourself, but you’re sort of a stranger,” he says. “I was a mess, and sometimes it was a fun, dramatic mess. Other times it was just an embarrassing mess. There’s a temptation to be dismissive and say ‘I was just young and stupid,’ but that was still me. I was that awkward person making bad choices and having bad priorities. To lead a full integrated life, sadly, you have to be willing to look at that Jungian shadow self. I always thought the Jungian shadow self was your cool, violent, sexy, dark, goth self. But I’ve come to realize mine is just awkward, uncomfortable and probably talks too fast.”
Read the full story and/or listen to the podcast
Kat Says: “Florida Is 100 Gecs-Level Weird, And I Love It Here”
(Kat Scrawls, August 2023)
There was a lot of talk this year in artist interviews, article headlines and layoff announcements about the role of music journalism and musical criticism in the post-streaming era, and I think there’s a lot people get wrong about the subject.
Music journalism isn’t about telling someone whether a record is good or bad. I mean, sure, that can be part of it, but even that analysis is, at its core, all about placing a song or artist in the cultural context within which they exist. True art criticism is about exacting this very important element of creation, and I’m 100 percent going to write a full essay about this in the new year.
That being said, the chance to review 100 Gecs in South Florida during the summer when Gov. Ron DeSantis was systematically destroying our public school system and tearing down the inherent rights of the local queer community was my chance to do exactly that—talk about music and the greater issue within which is exists and upon which it reflects, while also making a stand for a place I love that is greatly misunderstood and misrepresented.
Excerpt:
This concert was a protest party. We were rebuking the Republican government simply by existing and having fun. When the band played their latest single, “Most Wanted Person in the United States,” Les introduced it by saying, “This song is about trying to take a piss in Florida,” and afterward, she led us all in a collective yell.
‘True’: Avicii’s Smash EDM Pop Hit
(U Discover Music, September 2023)
Last year, I had the honor of being interviewed by Todd L. Burns for his awesome newsletter, Music Journalism Insider. This year, he hit me up to do a bit of freelance writing Universal Music’s editorial platform; specifically, a retrospective review of Avicii’s debut LP True on the 10th anniversary of its release.
I was there when Avicii debuted “Wake Me Up” to the main stage crowd at Ultra, and it was incredibly controversial. The years that followed and the years after the artist’s death have proven what a visionary he was, and how lasting his impact and influence will be on the scene for years to come. It’s incredibly fucking sad that he chose to take his own life, and I’m proud to help give cultural context to his work and career.
Excerpt:
On March 22, 2013, some 10,000 people gathered in Miami to listen to Avicii. At the performance, the Swedish DJ and producer premiered what would become the most successful track of his career and one of the definitive singles of the 2000s EDM explosion. But rather than cheer, the crowd fell silent. Then it began to boo.
This Year's Burning Man Was Not the National Disaster Everyone Made It Out to Be
(Miami New Times, September 2023)
Woo, boy! Did you know I went to Burning Man for the first time this year? What a year to make the trip!
I honestly had a fucking blast, but the rain and the fact that President Biden declared the muddy Playa an official national disaster changed the whole vibe. I’m going to say something wild here though: it changed it for the better! I think most people who were there agree with me, too, at least the ones I’ve talked to. I would like to go to Burning Man again and have it not rain for days, because I’d like to experience more off the surreal spectacle as it usually exists, but it was an incredible exercise in humanistic behavior and living up to the ideals Burning Man claims to be founded upon.
Excerpt:
In truth? The scene at Burning Man 2023 was more like the ending to How the Grinch Stole Christmas.
Sure, the streets of the city had turned to a sticky goo no e-bike could traverse. Power had been shut down throughout my camp to ensure no one else got electrocuted. Men started peeing in bottles while folks of all genders relied on self-tended poop buckets. Half the art on the playa was no longer glowing, Diplo and Chris Rock had fled the scene, and word on the street was we might not be able to leave until as early as Tuesday or as late as Thursday.
And yet, after a couple of diligent hours spent taking stock and planning plans, all the Whos of Whoville crept out from soggy tents and stood hand in hand. We all sang a song that didn't sound sad. Why, in fact, the sound that sounded even sounded glad.
Because maybe Burning Man isn't privileged libtards galore. Maybe Burning Man means a little bit more?
Inside Christian Karlsson's Musical Genius: How Punk Rock, Britney Spears & Doing "Crazy S—" Built The Swedish Producer's Legacy
(Grammys.com, October 2023)
When I first connected the dots on Christian Karlsson as the man who produced Britney Spears’ “Toxic” and one-third of indie-electro darlings Miike Snow, I lost my mind. Then he became one half of Galantis, and I was like, “damn, dude doesn’t miss.” Then I was asked to interview Karlsson about all this for the Grammy website and found out he also discovered Sky Ferreira. LOL WTF? He’s done even more impressive shit than that, too, so I have to share this Q&A. It’s the first time he’s ever opened up about all these project in one place, which is really cool!
Excerpt:
It was punk rock and skateboarding that got me into music; the subculture of being political and against everything.
That expression is the most important part for me, and it will always be. I have a professional side, of course, but the seed that started it all was being in the punk rock and skateboard scene, and that will never go away. Every time I need inspiration, I take inspiration from subculture, hip-hop or anything inspiring to me. I think I'm too old today to understand what's going on with new subcultures, but I really hope that it's growing and that it's always there for young people. I think that's very important.
Kat Says: “Oh, For Art’s Sake!”
(Kat Scrawls, December 2023)
Did you read my last newsletter? I’m sharing it here because I think it represents the shift I hope to make in 2024. I’ve been incredibly inspired by the artists who use their voice in daring and authentic ways, and I’m going to push myself to keep moving in that direction as much as possible in the year to come.
This newsletter also shares insights from my recent Kat Calls with San Holo and highlights the homie DJ Craze, who I did interview after penning this essay and which will be published on Spin, probably next week. I’m sure that interview would have made this cut if it was already out, but alas, you’ll just have to stay tuned to read it!
Excerpt:
Art is a piece of a person shared so truthfully and without fear that it becomes a mirror within which we see a piece of ourselves. That, I believe, is the most beautiful thing a piece of art can do, because it gives the viewer some reassurance that, no, they’re not alone in that experience. Yes, other people feel that way or think that way or have been in that way, too.
Alright! That’s it, my year in a nutshell. I hope you discovered something you enjoy, and I would love to hear from you about your own year and what you’d like to see in this space in 2024.
Do you have an idea for the podcast series? Want to see more interviews here, or lists, or just keep the essays flowing? I do this for you as much as I do it for me, so feedback is encouraged.
Coming Up
Kat Bein’s Music Journalism Academy, Class of 2024?
I’ve always toyed around with the idea of leading an online course on critical writing, and I’ve fully committed to the idea. I’d like to formulate a curriculum and maybe even launch the course in the first quarter of 2024.
Would you be interested in learning how to write critical essays and conduct artist interviews? Would you want to learn how to start a newsletter like this one or maybe pitch editors at other publications? Would you wanna do that with me over Zoom? You let me know! And you let me know what else you’d be interested in learning from me :) I’m open to your ideas.
Email me of your interest, and I’ll keep you in the loop: srslykat@gmail.com
Kat Calls: Baby Weight
Thursday, Dec. 14
7 pm ET / 4 pm PT
twitch.tv/katbein
youtube.com/katbeintv
YUP! It’s that time of the year when I bring Baby Weight onto Kat Calls, which means it’s the last episode of the season. Boo, it’s ending. Yay, friends! We always have a crazy and long-winded conversation about the year at large and set intentions for the year ahead. I hope you can join us! Bring a cocktail, or a mocktail! Cheers!
Absolutely Necessary
(This is the part where I share songs that are so good, they’re absolutely necessary to listen to. That’s it. That’s the bar.)
I made two Spotify playlists for this section that you can follow: one weekly playlist updated with just the new stuff every week, and one cumulative playlist that will host every song I pick ever (until Spotify tells me it's full). Check them out! I made them for you—and me, but mostly you.
Here are this week’s five highlights:
Fred again.. - “Leavemealone” Feat. Baby Keem
Fuckin’ Fred did it again. This tune mixes a d’n’b beat with a certain melodic softness that’s really appealing. It’s so hard, but it wears its gooey emotional center on its sleeve. I also love the idea of absolutely slamming on a dance floor to a song that begs to be left alone. That’s a real vibe. Been there!
Ninetoes and A-Trak - “Sécurité”
In the most unshocking moment of the year, I love this new tune from A-Trak. It’s super groovy with French filter house vibes all the way. Put this on when you wanna just sit on the same loop for nearly three minutes, then loop it again. Fuck it. Go all in.
Crywolf - “Videotape”
My life coach and I were talking once about the kind of artists we want to be, and he said this quip that I’ll never forget: “Kurt Cobain and Thom Yorke already won the award for saddest guys in the world. Don’t even bother with that. It’s done.” And yet, Crywolf’s cover of Radiohead’s In Rainbows song “Videotape” somehow feels even heavier and more emotional than the original—which is such a hard thing to do with any artist’s original work. It’s as stark and arresting as the icy forest artwork on this clip. I’m in love with this cover. It sounds like being sad at 3 a.m. when no one else is around. Good job, Crywolf.
DJ Sliink - “All My Ladies”
New Jersey legend DJ Sliink has been very busy this year, and while I usually enjoy whatever new Jersey Club beat he’s cooked up, I don’t always feel compelled to share them here. Today, though, the fresh mix of kawaii synths, Beethoven-ass piano runs and hard-hitting drums is just too delicious to ignore!
Haiku Hands - “To The Left” Feat. Jamaica Moana
This is a fucking weird one! It sounds kind of like a Moroder-style disco anthem meets post-modern art rock. I’ve been following Haiku Hands since earlier this year, and they’re always up to something interesting. It’s an all-female quartet electro band from Australia, and I’m suuuuure this newsletter will see more of them in 2024.
Okay, ya freaks. I’m out. I love you. See you next week for the final newsletter of the year when I share my favorite songs of 2023. See you for Kat Calls on Thursday, I hope! Besos. <3
Thanks for tuning into my newsletter. Listen to the playlists on Spotify. One is updated weekly with all the songs from each edition. The other is cumulative with all the updates ever!