Jet – You are a Superstar! is the new musical vehicle of Katreena Erin, a Kiwi singer-songwriter with a richly atmospheric voice and spirited delivery that bears comparison with the likes of Patti Smith and Hope Sandoval. Back living in Pōneke, where she was born, Katreena has spent many years living overseas, including stints in Ireland, England and Canada. Released mid-September, Venus is the introductory single to an album she’s been recording with Lee Prebble – who praises her carefully crafted songs and arrangements that take listeners on a journey. 

Ultimately Venus is a song about self love and acceptance, about respecting your highest self – but it covers some other underlying ideas. What initially sparked the idea was thinking, ‘How can I be with someone if I don’t feel comfortable in myself? If I haven’t really established a loving relationship with myself?’

The title is also referencing a large scale painting project that has been percolating for years now, it’s a bare all self-portrait and was inspired by the Sleeping Venus by Giorgione.

I wrote it in Vancouver, Canada in 2017, and to be honest when it first arrived I didn’t think it was a great song. It felt quite linear to me, and I didn’t think anyone else would enjoy it.

I was living with wonderful Canadian musicians at the time and we used to jam a lot. I was surprised by their response to the song, in the best way. It made me soften to the idea that it was worth exploring. And since then, it’s been amazing to see how many others have resonated with Venus, or been excited by it too.

When I returned to NZ in 2018, I started a collaboration with Ewan Clark – he’s a genius orchestrator for film and he did the orchestral arrangement of my first single, Lord. For the Lord release event we hosted a gig at Bats Theatre, and Ewan wrote a stripped back arrangement on piano and cello for Venus, which we performed live. That was the beginning of the arrangement for this album version.

Venus was recorded and mixed by Lee Prebble, at The Surgery. He and I have been co-producing my whole album together, and it’s been such a wonderful and fun journey. We have developed a natural flow and collaborative process.

The orchestral section we recorded with John Neill at Stella Maris chapel in Seatoun, with some of New Zealand’s most outstanding orchestra players – what a dream it has been to collaborate with everyone.

The feeling I wanted from the song was that it felt like a space capsule… that there was an almost tangible feeling in the air and a strong sense of intimacy. When a friend of mine listened to a near final mix he said it sounds like there’s dust in the air. Without having mentioned my intentions to him prior, at that moment I definitely felt we succeeded.

I learned guitar by learning Laura Marling’s songs, and I am using an open tuning (DADFAD) which is one she uses. I was dreaming and writing about David Bowie a bit around that time. Actually another song, Black Star, on my upcoming album – is a nod to his final album. I wrote Black Star right before I wrote Venus.

Lyrically, Lorde actually influenced this song as well. Her album ‘Melodrama’ had just dropped and there is a line in the song Liability – that created a lovely image for me. It brought to life that idea of observing yourself from the outside.

“I do my best to meet her demands, play at romance, we slow dance In the living room, but all that a stranger would see Is one girl swaying alone, stroking her cheek.”

That imagery influenced my lyrics, “She dances around the room, And she sings, she’s my everything.” In my context, it’s about observing your younger self / inner child being free.

I feel really lucky with the team I worked with on Venus, a combination of friends, past collaborators, and recommendations. I had worked with Lee, Ewan, and John before, and some of the orchestra musicians played on Lord as well. Hannah Owen Wright (backing vocals) is one of my best friends, and our music collaboration just works so easily – she has such an in-depth knowledge of music and it’s fascinating and inspiring watching her do her thing.

Mark Barrett created a beautiful drum arrangement, which really leaves space in the song. And I am incredibly grateful that Lee recommended Rick Cranson for drums on my project – his precision, punchiness and clarity have made me see drums in a whole new way. I knew Blain Fitzpatrick (on bass), but this was our first time collaborating. I greatly respect his unique bass playing and interpretations.

The whole string and piano arrangement by Ewan is divine, and is supported so well by Rick’s opulent drums. There’s one moment (at 2.06) in the bridge where Hannah and I are doing mmm’s, and our voices merge as one in a magical way. Then the beautiful bass just glides into this ascending melodic fill. That’s definitely my favourite part of the song.

We also had Claudio Escutia play gong on the track – it was so cool! I was adamant about having a gong ring out on the lyrics – “It’s gone, it’s gone, it’s gone”. I had been to one of his sound healing meditation classes – and asked if he would be keen to play on the track.

The line that resonates with me the most is, “She picks up a paint brush, and layer by layer she grows. She paints me a picture of a Venus who knows.” For me that represents the song – a true knowing of oneself.

Venus is the first release from my upcoming first album – ‘Rabbit White, Side of the Moon’. Seven of the 10 songs have orchestral arrangements, and the plan is to release a single each month until the album drops, likely early in 2027.

Aside from it being one of the first songs that naturally came together, the reason I chose Venus to be the first release was because the theme is more neutral, and more encompassing the other songs. The rest of the album covers love, friendship, and spiritual themes – Venus felt like a good container for it all.

Photo by Steve Unwin