Kitto, one of Australia's most publically underrated artists, is back with a new album, further showcasing the diversity and musical strength which has brought her much appreciation and underground success over the course of her 10+ year career.

Rockus: How have you been of late?
Kitto: I’m great! Ever inspired. That may sound rather "Shie Shie" aka too optimistic, but I’ve witnessed so much awesome stuff in recent days around the globe, so I hope I know what’s important and load it into a gig.

R: Your whole life has been based around song writing and music in general. Looking back on all the years you’ve spent involved in the art form, do you have many regrets and what have been your major highlights?
K: I don’t have many regrets as much as just making corrections along the way. Probably would have got mega famous if I’d play the game a bit more, however I am into political correctness so was checking out the corners and fine print too much sometimes, I suppose. For example Metallica came to two of my concerts and gave me free passes, backstage, the works and a biz card to Q Prime, their management agency in NY... Bugger I didn’t follow it up. I still kick myself there.

Major Highlights... played in front of 12,000 in The Globe in Stockholm, performing with Chad Smith (Red Hot Chilli Peppers drummer) in a concert in LA and seeing it lit up on the billboard in the streets, performed at Midtfyn in Denmark - like Roskilde - 60,000+ with just an acoustic guitar, teddy bear and a bottle of wine which I drank earlier waiting in the trailer with the photographer, meeting my idols in US and on tour in Europe. Busking on the street in London’s Portobello Rd and having Lenny Kravitz walk past. Played in Monaco at Café Replay for Princess Stephanie, going to the North Pole, first Australian artist to ever perform in Belarus and Russia last year 2003.

R: Of all the places you've travelled to around the world, which have you found to be the most musically and culturally inspiring?
K: Spain for one - these guys know how to live and when to quit bitchin’. France cause it’s great food & music appreciation across the spectrum and they love Aussies! USA for the cool influences... the good ones.

R: It’s been two years since the release of your last album. How much do you feel you've learnt and grown? musically, in that time?
K: I feel free with this album like I’ve finally learned to grab the ball and run with nothing holding back. It helped loads that I was confidently overseen by the co-producers (Destner/Molin) of P-Junk to get a performance which really reflects what happens live. That includes playing wise and dropping expectations of what people think! It’s honest, there is no judgement and feels like a homogenised album and people can hear that. I can let it speak for itself... gGets better with every listen and that was an objective.

R: You seem to be one of those artists that is constantly motivated and constantly writing new material. Have there been times throughout your career where writers block as been a problem and, if so, how have you worked through it?
K: No not really. It’s all in the timing. There is so much information on standby so I never run out. I think if you say or write down/record there and then what you observe or think, you never miss and so when the down-times on, it balances out. For me it’s living on standby, in “the zone”.

R: I’ve read that you feel that your versatility has burdened you / hindered you throughout your career from being more known then you are. Have you tried to keep a bit more continuity / common backbone with the songs on your new record or are you still just as diverse as ever?
K: You hit it! The most important thing this time which I’ve really tried to communicate on this album, is to not compromise the spectrum of subject matter and yet keep the musicality of it more simplified and with identifiable edge. I work with only/limited to five sounds with guitar on stage in a rock trio, so there isn’t much more than bass and drums going on. Therefore it’s massive freedom if you can handle the space and not have it filling up with clever insecure stuff.

R: How would you compare the material on your new record, 'Precious Junk', with that from your last album?
K:It’s my own vision from start to finish. I love the previous record 'Princess of Tragedy’ (Bryant/Molin) which was more of a singer-songwriter concept album, a vision/interpretation produced by a great team of guys. However it’s just progressively moved forward to get a little more out there, usually the opposite happens hey.

R: Are you happy with where your life is at and where you are at musically at the present time?
K: I’m totally happy with the whole new music movement at the moment; where freedom stands artistically with artists. A song writing colleague and I just finished a song called ‘Emotional Minute’. It’s not exactly happy but got a serious tongue in cheek hook factor. We rule!

R: What goals are yet to be fulfilled for Kitto?
K:I got a 2 year plan mapped out... and loads of paper on standby.

Interview by Steph Edwardes, March 2004