Rowntree (also based in Toronto) is known for his work on the Cracked series PeopleWatching and his satirical webcomic Subnormality, which earned him Slate’s coveted Cartoonist Studio Prize in 2015. Exploring the absurdities of modern life through his work, Rowntree’s often offbeat approach combines verbose dialogue that humorously contrasts with typical visual storytelling in animation. 

Cruel and Rowntree’s creative collaborations date back to 2017 when Rowntree used Cruel’s song “God Willing” (released as Kate Boothman) for peopleWatching. Last year he designed the cover art for her debut LP, and now Rowntree has harnessed the reins for the accompanying music video to “First Frost.” The video features an animated version of Cruel, guitar in hand, strolling barefoot up a road clad in nothing but a catsuit – a striking embodiment of their artistic chemistry.

 Katie Cruel recently sat down with RANGE to discuss the raw and ready ethos of her music, being intimidated by her own band, and the details of her latest collab with Rowntree.

If an alien with a penchant for new music landed on your doorstep how would you introduce yourself?

Greetings, Spaceling! I am Kate Boothman aka Katie Cruel. I write really honest songs and I hope they hit. Now come inside, you’re letting the weather in.

 Your approach and style is wildly authentic. However, in the age of TikTok, brand recognition seems paramount — or so we’re told. Is your aesthetic curated with intention?

It didn’t start out that way, the curated look. I was going for more of a Marianne Faithful, The Girl on a Motorcycle look. But mostly it just looks dom. I dig that too. Everyone should have a good power suit.

Do Katie Cruel and Kate Boothman go hand in hand, or is your musical persona something entirely separate from your personal life?

I think of Katie Cruel as a band name more than a persona. Kate Boothman is in Katie Cruel.

What made you reach out to Winston Rowntree to animate your music video for “First Frost”? Was there something about this song specifically that felt right for a collaboration?

I’ve collaborated with Winston on a few things… my record cover for example. He used my song “God Willing” in a PeopleWatching episode, as another example. I’m such a massive fan, I’ve been waiting for the right time to approach him about a video. “First Frost” is just over two minutes long, so I figured it was my best shot as it’s my shortest song… and it worked!

(Photo by David Leyes)

As a fan of Rowntree’s animation and previous work, did you have to adjust your expectations or compromise in the making of the music video?

I was certainly willing to compromise, as frankly, I’d have been happy with whatever he came up with. The man’s brilliant. No compromise was necessary however. He totally blew my mind. He sent the first edit and I was like… DUDE. It’s done. I watched it 40 more times and it just kept getting better.

The music video has a retro-feel, enhanced by the animation. Did you find you had more creative freedom with something imagined and drawn rather than organized and filmed?

That’s really a question for Winston. It’s rare (for me), but I gave him full throttle control. I had three points for him going into it: please make my eyes super blue, include Little Black (my guitar), and can you put my friend Michel’s El Camino, in it? He sent me a thumbs up emoji.

Would you continue to collaborate with animators for music videos or is this it for now?

Oh man, absolutely! I’d rather exist in cartoon exclusively.

Do you have a favorite animated music video, other than your own?

Well mine is definitely my favourite… You know, not too many others really held my attention other than “The Point.” A classic. Timber Timbre has a couple of beauties, but they’re more artistic than a straight up cartoon.

Regarding the song, you shared that it’s been “sort of been rattling around on a dusty shelf in [your] brain.” Thankfully, it made it to completion, but have you ever had to decide to scrap other material?

Well, in the Lost Vagus session, I didn’t really have a plan. We tracked 13 songs in three days. Eight made the record. I decided to stick to a vibe for the whole record, as it really is a vibe when you’re recording live. But like “First Frost,” now I have a pocket full of unreleased jewels. We only ran that song once, that’s what you’re hearing, vocals and all. Frankly when you know you know. You know?

 You collaborated with producer Mark Howard on your debut album Lost Vagus – was this intimidating and what did you learn while making the album?

Working with Mark wasn’t intimidating as we have a very natural and symbiotic musical relationship, that was obvious immediately. It’s my band that intimidates me. They’re SO great. I have the songs, but musically, I am the weak link, so recording a live, off-the-floor record was very intimidating. I learned to trust the people I put in the room. I trust and respect them completely. And most importantly, I learned to trust that I deserve to be there. That’s a very big deal for me. I believe that now. I didn’t until then.

You mentioned “First Frost” was recorded in one take. Do you think this spontaneity adds to the spirit of the song and engenders a message beyond the lyrics? Does this come across in the music video?

Completely. That’s why it sounds so scrappy and fantastic, it’s a live ride, man. The video is so meticulous that it strikes a really cool balance between wild and contrived. Winston is really an impressive talent.

What is the biggest challenge you faced in the music industry and have you managed to stay true to your artistic vision despite this?

My biggest challenge has been remaining true to my artistic vision in a time where nothing means anything. Change this, pop that, content for contents sake, etc. Listen, I love the game, the industry fascinates me, I grew up in it, I wanna play! But ask every teacher I’ve ever had… I only want to play to the beat of my own drum. I have me. This is what I have. Can you dig it? Let’s go.