CATLEA

London-based singer-songwriter CATLEA (they/them), originally from Cincinnati, Ohio, returns with the new single ‘Someone’s Got To’. 

 

What is your earliest musical memory?

My earliest memory is asking for a saxophone for Christmas. Rather, I remember my joy and then immediate disappointment when I unwrapped my saxophone only to realize that it was plastic and entirely unplayable. In my parents’ defense, I was only 2 or 3 years old and they spent a good amount of time searching for a saxophone for a literal toddler.

 

When did you begin songwriting?

I don’t remember when I actually started sitting down and trying to write songs with melodies and chords, but I was always making music in some way or another. I would sing to narrate my day when I was very small, and I would play random things on the piano whenever I got bored of practicing my scales or the songs I was meant to be learning. I think I was maybe 10 or 11 when I first started actually trying to write full songs all the way through, but I couldn’t tell you what they were about. They certainly weren’t very good, though I’m sure my mother would argue with that.

 

You have your new EP ‘Aftermath’ being released soon. How did you want to approach the making of the EP?

It was deeply important to me to capture the five stages of grief with each of the songs on the EP. I was trying to portray the grief I felt as I realized I had to let go of the version of myself I thought I was meant to be.

 

Where did you record the EP and who produced it?

The recording and producing of the majority of the EP was done at Goldcrush Music in London with Paul Visser, but ‘Someone’s Got To’ which is the single and final track from the EP was recorded and produced by Jason Boshoff and Oscar Garcia-Bragado at Room To Studios in Barcelona. 

 

Do you have any interesting, funny or memorable stories from the recording sessions?

In one of the songs that’s yet to be released, there’s this almost ticking clock sound you can hear very subtly in the background during the bridge. That sound was programmed by the producer after we sampled this toy frog I had been carrying around that squeaks when you shake it.

 

Did you use any particular instruments, microphones, recording equipment to help you get a particular sound/tone for the record?

Other than the frog, I actually have no idea. I was so focused on getting everything right in terms of the arrangement that I put full faith in everyone else to use the best possible equipment.

 

Which of your new EP tracks hear you at your a) happiest, b) angriest and c) most reflective?

“King of the Fools” is the angriest and “Someone’s Got To” is easily the happiest and most reflective, although all of them represent self-reflection to some extent.

 

Who were the musicians who were on the album with you?

A good chunk of the music was handled by me, my partner Max Shirley, and production (Jason Boshoff, Oscar Garcia-Bragado, Paul Visser) as we all play multiple instruments, but the strings specifically in “Someone’s Got To” were done by Roni Seller.

 

Does the EP’s title have a specific meaning/significance?

“Aftermath” is exactly what it says on the tin. It’s the story of what happened post-Language Barrier when my need to be as perfect as possible and handle everything on my own started to catch up with me. I could’ve just as easily called it “Consequences” or “Sobriety” or “I Went Mad But I’m Fine Now” but Aftermath felt slightly more subtle.

 

Was it a difficult EP to write?

Emotionally? Absolutely. I was writing about some of the heaviest moments of my life while they were still happening. The actual ideas and first drafts for the songs came easily, but finishing them was a whole different story. I agonized over the lyrics on several of the songs for months before I settled on the final product.

 

Who designed the EP artwork?

I did. I’ve designed all my own artwork for several years now. It’s important to me to be able to create as much of the story myself as possible, and I really enjoy creating the visuals for my music.

 

One of the tracks is the single ‘Someone’s Got To’. What was the story/inspiration behind the track?

That song in particular was the “acceptance” stage of grief for me. It was the realization that something had to change and I had to be the one to do it. I had to get over my need for external validation, my perfectionism, and my idea of who I was meant to be, and love myself exactly the way I was, so I could finally get better and heal.

Is the track accompanied by a visualiser?

It is. I animated a canvas out of several self-portraits I’ve done as well as the cover art to go along with the music. I’d like to build out a visual scene even more, but that’s currently a work in progress.

Where is your hometown and could you please describe it in five words?

I’m from Cincinnati, Ohio in the US. In five words I’d say it’s vibrant, diverse, historic, artistic, and unique.

 

Do you have any live dates planned in the UK/Europe in 2026?

I do! I’ll be at the Box Rocks Festival in Box on 31 August and in September I’m playing in Cambridge, Bromsgrove, London, Brighton, and Bath. I’m also headed to Spain and France at the end of November, which I’m very excited for. All of the info is on my socials and website.

 

What two things do you hope to have achieved once you have left the stage?

Other than putting on a good show, of course, I hope I’ve made people feel something and connected with them in a way that encourages them to come up to me afterwards. That’s all, really. I love having conversations with people not just about my music but about their lives and what’s important to them.

 

Do you have any favoured stage instruments, effects, pedals, microphones etc?

In terms of microphones, I have an sE v7 that I use at almost every show. That being said, there was one show I played where I got to use a Telefunken m80 and now I want one more than anything in this world.

 

You are given the opportunity to write the score for a film adaptation of a novel that you enjoy. Which novel is it and why?

Circe by Madeline Miller. Even though that might be surprising since it’s not in the genre I usually write in, I love Ancient Greek mythology and the story of Circe, and I would absolutely love the chance to score an entire soundtrack with an orchestra and choir.

 

How do you look after your voice?

Hydration, gargling warm salt water, warming up and doing vocal exercises almost every day, regular exercise (especially core and cardio) and playing saxophone for breath support are all regular parts of my routine. I also try my best not just to eat healthy but also to actually eat enough that I have energy when I sing. All that being said, the biggest thing for my voice has been cutting out alcohol and nicotine. Ever since I finally quit, my voice has improved so much I almost can’t believe it. It wasn’t easy, and it took more than one attempt, but it needed to happen.

 

Who are some of your musical influences? Do you have any recommendations?

PVRIS, Bring Me the Horizon, Half Alive, and AURORA are some of my biggest influences and I cannot recommend them highly enough.

What makes CATLEA happy and what makes you unhappy?

First and foremost I value creative self-expression, learning new things, and spending time with the people who matter most to me. As for what makes me unhappy, ultimately the biggest ones are unfairness and a lack of empathy and compassion, which I would hope most people agree with. Beyond that I feel unhappy when I’m misunderstood. I also strongly dislike yoghurt. Awful texture.

Feature Image Photo Credit: Jon A Hererra

CATLEA’s single ‘Someone’s Got To’ is out now.

The new EP ‘Aftermath’ will be released soon.

In addition, CATLEA will be touring the UK at the following venues: