Mari Kattman explains the ideas behind her new album for Metropolis Records

Transmission 229: Interview with Mari Kattman

Mari Kattman is an American electronic music artist and producer. She has been writing, recording, producing and performing live since 2012, known for her work as part of the electronic duo Helix and for her solo career, which encompasses elements of Trap, Hip Hop, Electro, Ambient, EBM and Industrial music.

Title: Year of the Katt
Artist: Mari Kattman
Genres: EBM, Industrial Music
Label: Metropolis Records
Description: Mari Kattman discusses Year of the Katt, her third solo album on Metropolis Records, creative growth, and electronic production techniques.

Kattman has collaborated with prominent electronic acts including Assemblage 23, Mesh, Jean-Marc Lederman, Neuroticfish, and Comaduster. Recently signed to Metropolis Records, she released her third solo album “Year of the Katt“, in June 2025, with the lead single “Anemia” addressing themes of physical and metaphorical weakness through iron deficiency and vampiric imagery.

What first pushed you to start making music on your own?

I honestly had, what I feel to be, a wall of insecurity up that kept me from attempting to try and write material on my own. I think I just had the realization that life isn’t forever and if I’m not going to believe in myself enough to try and pull off my own project alone today, then when? And the answer is, you are the only thing stopping you from doing the things you dream about. 

Which artists or records felt important to you when you were just starting out?

I grew up during a time of girl power and great music. I was 15 when I started in my first band in high school. Artists emerging like Tori Amos, PJ Harvey, Bjork, Bikini Kill, Sleater Kinney, Veruca Salt, Imogen Heap and lots of others were the reason I started. There was like an enormous amount of talent that was extremely inspirational and I know I was experiencing music in a very awesome time in history. 

What was your first serious attempt at writing or recording?

When I was 15 until about the age of 25, I let other people record me. I think some people will really resonate with this but at some point, I was tired of waiting for other people to set up a recording rig and get my vocals into a DAW. I decided I was going to learn how to record myself and that was the springboard to many of the early work you will hear with artists I collaborated with starting back in about 2012. 

What themes did you find yourself returning to while writing Year of the Katt?

As a woman in my late thirties, I find that the themes of my life have changed quite drastically. Year of The Katt really explores the themes of existence and legacy. Are you happy with your life’s progress? Are there stereotypes, gender roles that have held you back from being the best you? Are you willing to let those go with the idea that life isn’t forever and you need to make the best of what you have, now. Will you allow yourself to embrace who you are with abandon? 

Were any specific events or periods in your life behind the mood or direction of this album?

I think my creativity shifts have been something I’ve had to adapt to and get myself in a new frame of mind. I look back on my life and see all the paths that led me to this now moment. I’m proud of what I have come through. I want my listener to be proud too. Your outward life is a reflection of what is happening internally. If you shift your mindset, if you love yourself, if you believe you can, you can change your life. 

When you look at the full tracklist, do you see a thread connecting the songs—or are they more standalone?

The songs definitely stand alone, but it’s coming from one person’s reflection on life. So, in that way, all is cohesive. 

Did your environment—physical or mental—have an impact on how Year of the Katt sounds?

I’m a BIG sample girl and.I love foley sounds. I have a project called Orphins that is literally all samples coming together that don’t necessarily fit but I’ve requested that they go play together on those tracks. Throughout the Year Of The Katt album you will hear weird sounds and samples that I found and felt inspired by. I often challenge myself to find a place for these weird anomalies in my songs. 

Were there artists, records, or even non-musical material you kept coming back to while writing?

While I am writing albums I seriously cannot really listen to any music. I’m so engrossed in my own work that I feel exhausted by the idea. I do however have a lot of existential thoughts and read a lot in that subject matter. I think writing an album is a truly spiritual experience and I’m definitely not a religious person. I do think that artists have to use their platform to expand their inner world so that others may be expanded from listening. 

Did you start this record with a clear idea of what it would become, or did it shift as new material came in?

I have talked to many artists about this, but when writing many of my peers feel as though they are walking through a room, blindly feeling for the next step. That is truly how this album felt for me. I think writing music is a matter of intuition and following that until the end. 

Were there any tracks that were difficult to finish, either technically or emotionally?

No, this album was a true joy to write. I was talking earlier about how I decide to proceed with songs or not. I usually write a verse and if I can transition that into a chorus that makes it to the next step. Then I try and write vocals and if they come, we have a winner! If not, I don’t waste any time and it goes in the bin.

Were there songs that didn’t make it onto the final track list? If so, why?

There are definitely songs that didn’t make that album. I actually pulled one of them and chose to put “Anemia” instead. It’s OK though! I have so many songs that weren’t ready for prime time on this album but they may be ready for the next. 

Did the sound of the space where you recorded have an impact on how the songs turned out?

I record all of my stuff in the basement of my house and when we moved in, we were pleasantly surprised to see that the entire basement already had soundproof walls. I think it was truly the house that was destined for us. 

Has your relationship with electronic production changed since your previous release?

I try and keep in mind dynamics and space. I want the tracks to feel multidimensional so I play a lot with panning and depth in my songs. I didn’t really have a great understanding of this when I wrote my latest EP’s. I think it is very obvious that the skill is developing and I only hope to develop it more for future releases. 

Have you started writing new material since finishing Year of the Katt, or are you taking time away from recording?

I have actually had quite a bit of time away from writing as of now. It’s such a large span of time between writing and submitting your album to the label and then waiting for the release. I have a lot of material already ready for the next album, maybe 6 songs as it stands. I think fans can look forward to a followup album as early as next year. 

Photos courtesy of Mari Kattman

Matteo Damiani

Matteo Damiani is an Italian photographer and author. Curator of the sites Retrofuturista.com; weirditaly.com; china-underground.com and others