Read the newest Kills Interview that she’s done with Blogcritics.com:

Natalia Kills is a British-born Latin singer who has been hovering under America’s radar for the past few years. In 2008, will.i.am discovered the singer after hearing her self-released EP, Womannequin. And the following year, she landed a featured guest spot on Flo Rida’s “Available,” alongside Akon and will.i.am, as well as “Just Play That Track,” a song produced by Lady GaGa’s personal DJ, Space Cowboy.

In preparation for her solo debut, Natalia Kills has crafted a unique musical masterpiece: Perfectionist. The album serves as the soundtrack to her forthcoming film, “The Exhibitionist,” with both components created concurrently to construct the ultimate music experience.

Such ingenuity has pushed the connotative boundaries of musical works previously adorned with the title of “concept album.” If Natalia’s “Love Kills, xxx” mini-series is a testament to the handiwork music lovers can expect, then 2010 will definitely be a “killer” year for Miss Kills.
In the midst of a promotional campaign for “Zombie,” Natalia Kills managed to squeeze some time out of her busy schedule and settle down for an interview with Clayton Perry – reflecting on the dangers of technology, her love of Quentin Tarantino, and the inspiration behind Perfectionist.

Your forthcoming album is slated to be entitled “Perfectionist.” When it comes to music-making, is it safe to assume that you have a very TYPE-A personality? [laughing]

Yes! [laughing] I came up with the concept for my album long before I even made any of the songs. I really believe that everyone is a perfectionist. Me, in particular! [laughing] But consider this: every time you go for a job interview, or on a date, or you go shopping, you’re looking for the best. And for me, that’s what it’s all about. Obviously, that spills over into my music and everything else. So that’s where that real concept came from. And when I write my songs, and when I go in the studio, I am in complete control. I choose all of my sounds – from the drums to the guitars. So, I really pay attention to detail, like most perfectionists do with everything.

When you look back on the recording experience, is there a particular memory that comes to mind?

It’s quite interesting. I remember when this concept first hit me. I was looking at all the artists that I am quite fond – like Daft Punk, Depeche Mode and Kate Bush. They’re all very visual and cinematic. And I’ve always had a really great love of foreign film and cinema. So I actually made a film, with an accompanying soundtrack, and it basically goes in complete correspondence. This film is about me. It’s not a documentary or anything like that. And it’s not the show “Love, Kills,” which is more like an adventure series of myself. But it’s more avant-garde. It’s more surreal and hyper-creative. I came up with the concept first, the film second, and the album third. So it’s all one big vision. We live in the “see it to believe it” generation, I think, so if you have an album that has a consistent visual to go with it, you will feel even more involved and connected with it.

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