Kaeto: surrealist artist bringing a punk spirit to modern trip-hop

Since she emerged with the 2022 debut single ‘Good Morning’, London-based singer Kaeto has gone on to find a sound that is unmistakably hers – fusing inspirations from indie, electronica and trip-hop into one signature palette. Although she started amping up just as the world was locking down, recent months have seen her bring her music to life on the live stage, supporting HAIM at All Points East and locking in opening slots for both Lauren Mayberry and Eliza.

As well as making nods to everyone from Portishead to The Clash in her songs, the Scottish-born singer also harnesses influence from outside the music world – aspiring to tell a story similar to that of a Hollywood blockbuster. “Music is such a huge part of film, but so much of it is world-building and character-building too,” she tells us over Zoom, naming Blade Runner as one that resonated with her. “I want to be telling stories that feel influenced by the film itself – not just in what it sounds like, but in the feeling that it produces. I like recreating that.”

With that in mind, it’ll come as no surprise that part of Kaeto’s charm lies in her visuals – able to capture an uncomfortably raw sense of emotion in each of her music videos. Pair that with a recently-completed stint in clown school – something which she compares to “a study of psychoanalysis” – and lyrics exploring themes of imposter syndrome, and it’s fair to say that her approach is charmingly offbeat.

Now, speaking with NME ahead of her upcoming single ‘Don’t Ask’ (due February 23) – which will arrive later on in the spring – the singer-songwriter is confident that this is just the beginning. She explains that her plans for new music are putting her on the right track to harnessing the full extent of her powers.

NME: How did you decide to pursue a career in music?

“It came from a series of very talented and knowledgeable musician friends. We would write music together, and then it developed into something that I had wanted to do for ages, but hadn’t realised I was already doing!

“But I’ve been writing seriously with producers for like five years. It was put on hold during the pandemic, but that was an advantageous thing as well because I picked up skills that meant I could do a lot more on my own. I had to become knowledgeable and proficient at producing myself and recording vocals — because of it I’m now really involved in making my music.”

What is it about genres like trip-hop that resonate with you?

“I’ve always been fascinated with singers who have an unusual voice. I love Nina Simone, I love Beth Gibbons [Portishead] and I love Bob Dylan too. Essentially, I like to hear what someone’s feeling in their voice, that’s my real love.

“With trip-hop, I love the beats and the rhythms; that perfect match between haunting vocals and interesting hip-hop beats.”

Previously we’ve seen you tackle themes including imposter syndrome and dependence on technology in your songwriting. Is there a deeper meaning to your next single ‘Don’t Ask’?

“It’s about my relationship with myself and my self-image. I feel like I’ve been influenced over a long period to feel a certain way about myself – but if I had just dropped onto this earth and never met another human being, I would never feel how I feel about maybe my legs or skin or hair length. So in the song I’m making a mockery of these thoughts and the lengths that I go to to adhere to this standard… but I’m not being super serious!

“That was the inspiration for the video too. We were looking at all this imagery of teeth and mouths and tongues because we wanted it to feel like a celebration of the body and represent the inner dialogue that we have with ourselves.”

Something that separates you from the crowd is the fact that you went to clown school…

“I read a really good book which I can’t recommend enough, called Animal Joy. It’s about a psychoanalyst who goes to clown school and explores how similar clowning is to psychoanalysis. I found it so inspiring and felt like I needed to experience it based on the way that [Nuar Alsadir, author] spoke about it.

“It helped me with any nerves or stage fright, and it was super informative in terms of learning how important the relationship is between you and your audience when performing. Techniques like ‘casting the net’ were a massive help for me. It’s like, imagine you’re on the tube. It’s really noisy — there are babies crying and someone’s dropping their shopping, but then you’ll notice a couple chatting to each other as if nothing else around them is happening. That is the net: this intense attention that we give each other. So, when I’m on stage, I always [focus on] that.”

Already we’ve seen you share stages with artists including HAIM, Eliza and Lauren Mayberry. What has that been like for you?

“I was blown away by Eliza’s performance and stage presence. She was pregnant at the time and it was just breathtaking. It’s always amazing playing live and I’ve had some amazing live shows so far. One of my favourite parts is trying to make the songs sound slightly different to on the record. Make them come alive!

“The support slots with Lauren Mayberry were an amazing experience too. To do my set over and over and over again, that’s the first time I’ve ever done that! I haven’t gone on a big tour yet, so that was really helpful.”

“It’s important to value yourself”

How have you grown as an artist since you first started working with producers?

“I have the most amazing relationship with Mathi [Wang, producer]. We’ve evolved together and I believe that good music is an expression of really good relationships.

“I would also say that, as an artist, I am so much less prepared to put up with feeling slightly uncomfortable. I’ve never worked with anyone that made me feel like I wasn’t safe, but I mean in terms of feeling like my opinion wasn’t valued.

“Now, I feel more comfortable speaking up and saying ‘I don’t think that that should be there’. Offering my opinion and valuing my time enough to ensure I feel happy with everyone I’m working with. That’s been a massive change. It’s important to value yourself.”

What do you have planned for the rest of 2024?

“None of the music I’ve done with Mathi is even out yet, so there’s all of that! I’m so passionate about it. There are more shows, more video ideas for the tracks that are coming out and some more live versions of songs. I’ve got some really fun festivals in the calendar like The Great Escape and Momo too. I’d love to do another support slot… I’m obsessed with Caroline Polachek. I would love to work with her and with artists like LCD Soundsystem too. Basically, people who I would love to see live.

“Above all, it’s just more music. I’m going to spend a lot of this year writing, which I’m super excited about. I think it’s under fierce debate whether there will be an EP/album yet, but I know that I’m making a collection of songs.”

Kaeto’s new single ‘Don’t Ask’ will be released on February 23 via Polydor 

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