By: Josh Kitchen / November 14, 2024
Photo by: Ebru Yildiz
Known for her work as the powerhouse vocalist of the fantastic indie band, Celebration, Katrina Ford's excellent new record, H.E.A.R.T. takes us through her reflections on creativity, resilience, and the unexpected directions life can take, either here on Earth or beyond. I had a chat with Katrina where we discussed the meaning behind the album’s acronymic title and artwork, finding creativity and inspiration during the pandemic, and whether we're alone in the universe. Listening to H.E.A.R.T., it's hard to come to the conclusion that we are, and after you listen to it, I think you'll feel less alone too.
I wanted to dive into the album art because I know the title is an acronym that reads "Heart, Amber, Abuse, Resin, Trend." Could you tell us more about the meaning behind those words and how they came together?
It’s actually something called a word square. If you stack the words on top of each other, they read both left-to-right and up-and-down. This concept has been around for a long time. One of the oldest examples is called the "Sator Square." I came across this "Heart" word square and was immediately drawn to it. It felt meaningful in a way I couldn’t quite explain at first. So, I started playing around with it as a piece of art and stacked the words to give it depth. I’m also a visual artist, so experimenting with text and layers was part of the creative process for the album. When we started thinking about the album art, I kept coming back to this word square. I couldn’t shake it, and it just felt right.
The word "abuse" is prominently placed in the middle, which is a heavy word. It’s something I can relate to personally, as someone with trauma and abuse in my background. Art has been a way for me to create beauty from those painful experiences. When I first considered using this artwork as the album cover, I was a little hesitant. Some friends asked me how I felt about putting “abuse” right in the center. But ultimately, I felt like people could interpret it in their own way, and it could be powerful for those who relate to it.
I think that will definitely resonate with people. For me, hearing other people share similar experiences has always made me feel less alone.
Exactly. Abuse, unfortunately, is a story that a lot of people share. We live in a time now where people can express their vulnerabilities more openly. It’s still a heavy word, and I was initially unsure about using it, but I kept coming back to it. I think, in a way, the heaviness makes it relatable for many.
There are other words like "heart" and "amber" that balance it out and add different layers to the meaning.
Words have power, and I feel like everything about this square came together for a reason. A friend of mine, who’s quite magical, even called it a "magic square." She said words can have a kind of mystical energy. I don’t know about conjuring anything, but I like the idea that words hold weight and can influence people’s emotions. That’s part of what I hope to do with this music—to communicate something meaningful.
The singles are intense and full of emotion, and they have this layered, sensory quality. When I listen, and I'm thinking of "Cry Wolf," I think of vast expanses of space, and "colorful" is a word that comes to mind. Does that make sense?
Yes! That’s exactly what I was going for. I’d even call it maximalist—it’s big, and there’s a lot going on. My husband and I feel like kids in a candy store when we make music. We love experimenting with different sounds and textures. We’ve been doing this for so long that it’s like each project becomes a little clearer in message.
Some of my favorite artists, like Nick Cave and Bruce Springsteen, have put out some of their best work years after they started in the industry. Do you feel like you’re refining your sound with each release?
Definitely. Age brings experience and the ability to self-critique, which I didn’t have when I was younger. Back then, I didn’t want feedback from anyone! But now, I feel more open to improving, both in my art and as a person. I’m grateful for the ability to grow like that.
This record started to come about during the pandemic. How did that experience affect your music?
It’s interesting because, during the lockdown, we didn’t actually work on music that much. I thought we’d be super productive, but that wasn’t the case. Half of the album was written before the pandemic, and we didn’t finish it until after. Personally, I think the pandemic gave everyone a chance to sit with themselves. A lot of people went through "shadow work" or self-reflection, and I was no exception. I have health issues, so I was already spending a lot of time reflecting before the pandemic, but the lockdown intensified that. It helped me grow internally, even though it wasn’t easy.
Do you think that period will continue to influence your music going forward?
I think it’s something that’s become part of our collective experience now. The pandemic changed how we consume everything, including music. It pushed us even further into the digital world, which has its benefits. But I’m still a little old-school. I love physical media, like vinyl.
During the pandemic, did you get into any new shows or media?
I got addicted to Star Trek. I’m a huge sci-fi fan and love the idea of different species exploring space together. There’s something hopeful and inspiring about it.
The album has themes that feel cosmic, like portals through space and multi-dimensional experiences.
We are living in a sci-fi world now, with things like AI and quantum physics. There’s so much potential, and I’m open to the idea that we might be in a multi-dimensional universe. If you’re open to it, you can sense things beyond what we can physically see. The research being done now, especially in consciousness studies and quantum mechanics, suggests that we might live in a multi-dimensional universe. It’s fascinating! What if our five senses only let us perceive a tiny sliver of what actually exists? I think if you get really quiet, you can start to feel that there’s more out there, sharing this space with us.
Photo by: Ebru Yildiz
It feels like science fiction meets spirituality. Do you feel like the isolation we experienced during this time gave you a unique space to explore those ideas?
Absolutely. The quietness and isolation of the pandemic really amplified that exploration for me. When the outside world went silent, I found myself tapping into a different kind of awareness, almost like stepping into another dimension. It gave me a chance to see the world—and reality itself—in a more layered, multi-faceted way. I guess you could say I did a lot of inner "traveling" during that time, exploring spaces beyond the physical.
Do you believe in UFO's?
I’m open to it. I actually had a UFO experience in New Mexico in the 90s. I was driving with my band late at night, and I saw these strange lights in the sky that made no sense. There’s so much we don’t know, which is exciting and a little scary. I think a lot of people want to believe that there’s more out there, whether it’s in outer space or in dimensions beyond our senses.
Well that sounds incredible.
It was one of those moments that sticks with you, partly because it felt so surreal and partly because I couldn’t explain it. It was in the late ‘90s, and I was on tour with my first band, Jaks. We were driving through the desert in New Mexico at night—somewhere between Texas and Phoenix. I remember I was behind the wheel while everyone else was sleeping, and the road felt endless. The sky out there is huge and dark, and you feel like you’re alone in the universe.
Out of nowhere, I saw these lights in the sky. They didn’t move like planes or anything else I’d ever seen. They were hovering, almost like they were watching us, and then they shifted in ways that defied any logic. The lights moved in patterns and speeds that didn’t make sense, like they were bending around space itself. The craziest part was the silence. There was no sound at all, and that almost made it more eerie. I felt this strange mix of wonder and fear, like I was seeing something I wasn’t meant to see.
Photo by: Ebru Yildiz
Did you ever find out what it was?
No, and I think that’s what keeps it alive in my mind. There’s a part of me that wanted to rationalize it, you know—like, "Oh, it was just some kind of aircraft or a trick of the light." But nothing added up. Even years later, I’ve thought about it so many times, and I still can’t explain it. I don’t know if it was a UFO or some government tech we’re not aware of, but that experience left me open to the idea that there’s more out there.
Do you feel like moments like that have shaped your art and the way you approach music?
Absolutely. That sense of the unknown, of exploring things beyond what we understand, is a huge part of my work. Music, to me, is like trying to touch the edges of something mysterious, something bigger than us. That night in New Mexico was a reminder that we’re just small parts of a vast, unexplored universe. I think if we’re open to that mystery, it can inspire us in ways that feel almost otherworldly.
H.E.A.R.T. by Katrina Ford is out now, and you can purchase it here on Bandcamp.
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