Producer and composer, Kitzl plays with organically derived sounds in an electronic, pop- driven way. Her work builds upon short, hooky loops to formulate dramatic songs and unearthly soundscapes. Kitzl samples everyday sounds like gates, pottery, and branches to give strange, dirty textures to her work, and populates it with the voices of coyotes, frogs, crickets and birds alongside layers of her own vocals. While each piece is emotionally rooted in humanoid experiences, instrumentally and lyrically they might bring up images of anthropomorphized planets and objects, as well as imaginary races of probably nonexistent life- forms.

There is subtle conflict in Kitzl’s work and aesthetic. It’s a disquieted feud between a playful, child-like wonder, and a darker, more displeased bitterness at something. Maybe this is a natural dynamic for an artist trying to find their voice in a crowded space, or maybe she just spends too much time in her woman cave anticipating the jellyfish apocalypse and planning a bird sanctuary for sad birds.

Armadilla is Kitzl’s first release to date, and precedes her upcoming 2019 album.

While armadillos aren’t typically a danger to humans, careful precautions must be taken around armadillas, should they happen into the void. When flustered, the armadilla expands and contorts itself into what has been described as a “massive, steely, superball,” and obliterates everything in its manic, rage-path. Survivors have reported that the best form of defense in the event of a luckless armadilla encounter is to reason with it before it gets too large.