KATSEYE on First Single ‘Debut,’ Life After Dream Academy, & Their ‘Special’ Bond

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KATSEYE's debut has been a long time coming. Brought together via The Debut: Dream Academy, Daniela Avanzini, Lara Raj, Manon Bannerman, Megan Skiendiel, Sophia Laforteza, and Yoonchae Jeong had been training together long before audiences got a peek at their dynamic via last year's competition show and even longer before they selected as the final six KATSEYE members in November of 2023. Now, their blood, sweat, and tears are finally materializing in their first single song, aptly titled "Debut."

Written and produced by Ryan Tedder, among others, "Debut" is KATSEYE's official introduction to the world and sees the group taking mainstream pop head-on. However self-explanatory the title might seem, the lyrics tell another story. "We can run it, run it, run it, no, this ain't a debut / Love me once, I know you'll love me twice / Love me once, the naughty turns to nice," the girls sing in the chorus.

 

"The main theme of 'Debut' is confidence," Lara explains to Teen Vogue in a call from Los Angeles, KATSEYE's now permanent home, roughly a month before the song's release. “It's about our unity as a group because we've just been through so much together. Our journey has been very public for people to see, so, yes, this is our debut, but also, we have been building this sisterhood for a long time now, and we want to share the message that we are very much stronger together with each other.”

"We want people to hear the song and want to join us and want to be with their girls and unite with their friends and their sisters," Lara adds. "It's really just about sisterhood and being confident and strong and powerful and the best version of yourself."

Lara Raj of KATSEYE posing on the set of the Debut music video.

Lara Raj

 Rahul Bhatt. Courtesy of HYBE x Geffen.

Going from singing alone in your room to recording with Ryan Tedder is no easy feat, and Sophia, the leader of KATSEYE, is quick to give the producer his flowers for bringing out the best in them. "When we stepped into [his] studio, we got a little pep talk from him," she recounts. “He put each and every one of us in a head space that was just, 'Go for it. You're a star. Imagine you're on the stage, and the whole crowd is there, and you're singing to them.' He really helped us tap into our artistry.”

"The one thing I remember so well that he told me that just stuck with me forever is that when I recorded was, "Do it again, but do not be afraid. You're not going to break the mic. Go for it.'" Sophia continues. “You know, sometimes when you're in the studio, you can get intimidated by the mic and how crisp your vocals are, the headphones, everything, and the people around you, but he just made [us] feel so comfortable.”

Megan Skiendiel of KATSEYE posing on the set of the Debut music video.

Megan Skiendiel

 Rahul Bhatt. Courtesy of HYBE x Geffen.

Megan agreed that stepping into the studio was intimidating, partly because the expectations are stacked for their debut and partly because of Tedder's presence. "He's a legend, so I was a little bit starstruck," she says.

Of course, this is not the first time the girls have set foot in a studio, but something felt different. "During Dream Academy, when we would record our songs and do things like that, we still had it in the back of our mind [that it was] competition [and] you never know what can change," Lara says, "but now it's like, 'This is our music. This is it, and this is going to live on forever.'"

Being in the studio is almost like therapy for KATSEYE. "It's always such a good vibe in there," Lara adds. “We get to try a bunch of different things and experiment. It's very no judgment and fun. We hype each other up in the studio, so I think for me personally, that's been my favorite experience through this process so far.”

Daniela Avanzini of KATSEYE posing on the set of the Debut music video.

Daniela Avanzini

 Rahul Bhatt. Courtesy of HYBE x Geffen.

Accompanying the release of "Debut" as a track is also the release of "Debut" as a music video, which was shot by French-born, Lisbon- and Los Angeles-based filmmaker Gregory Ohrel, who was nominated for Best Music Video at the 2018 Grammys. The video was shot in Medellín, Colombia, so KATSEYE got to go on their very first work trip together as part of the experience. (Previously, the girls and her fellow Dream Academy contestants had gone to South Korea to record a special mission for the show.)

Looking back on the experience, Megan can only land on "surreal" to describe it. "The styling was so, so cool. We got to travel all together as KATSEYE for the first time. We got to do together and do amazing choreography. [Everything] just aligned so perfectly," she gushes. "The shoot went amazing and just being there with my girls, was so, so cool. I just had a vision on set, being, 'This is going to be us for the next years to come, and it's just that I'm going to be spending the rest of my life doing this with my favorite people ever.' That's the first of many, many, many to come." (Lara also admits the sextet couldn't hold back the tears as filming wrapped. "We got so emotional," she says, covering her mouth, almost as if reliving the experience again.)

"It's a once-in-a-lifetime experience," Manon adds. “It's our first music video and it was very intense. We had long shot shoot days, very early call times, but it was so worth it. Gregory made us also so comfortable and he actually was like, 'Oh, and if you guys have any ideas, let me know. Maybe we can change some things up.' We all felt really involved.”

"I think one of my favorite parts is when someone would be filming their individual scene, and all the girls would be hyping her up behind the camera, being like, 'Let's go. You're killing it. Oh my God, you look so good.' It was just such a positive environment. The entire team was so supportive," Megan also notes.

Red line

The members of KATSEYE were selected from over 120,000 submissions for The Debut: Dream Academy. First, there were 20 contestants; then, 10 finalists; and, at long last, six final members hailing from all corners of the world. On the U.S. front, Daniela comes from Atlanta, Lara from LA, and Megan from Honolulu. Manon, Sophia, and Yoonchae, the international members, are from Zurich, Manila, and Seoul, respectively.

Before their journey as KATSEYE began, the members all relocated to LA to train to become "the first-ever global girl group formed using K-pop artist development methodologies," as HYBE and Geffen describe it. That year-long process, part of which was already shown on The Debut: Dream Academy, will be documented on Pop Star Academy: KATSEYE, an upcoming documentary directed by Nadia Hallgren set to premiere this summer on Netflix.

"LA is where the Dream Academy started. It's where I met all the other members. This is where we're going to have our activities as a group, so it's a really meaningful and important place for me," Yoonchae says. "LA it's a place with a lot of great memories and a place that we're all going to build more memories in the future."

Yoonchae Jeong of KATSEYE posing on the set of the Debut music video.

Yoonchae Jeong

 Rahul Bhatt. Courtesy of HYBE x Geffen.

Despite having closed their Dream Academy chapter months ago, KATSEYE still feel a special connection with their fellow contestants. "I definitely have kept in touch with some of the girls," Daniela says with a smile. “It's hard not to because some of them became my best, best, best friends, especially my roommates. They're always checking up on me, and I'm always checking up on them. They're definitely supportive.”

Manon adds that all of the contestants had "mutual respect" and "only love" for each other. However, being part of the final six has made the bond even deeper for KATSEYE. "I think we always try to keep saying that we're sisters because it genuinely feels like we are," Manon says. “We all live together. All six of us are going through this very unique journey that no one else really can relate to, so that gives us this special bond, and it's amazing, I mean, to always have five girls who know exactly what you're going through.”

And they know what they are going through 24/7. Since the show ended, the sextet have practically spent every second of the day together in their new LA home, sharing rooms grouped in pairs.

"Honestly, it's so much fun being in the house with all my members," says Megan. "Being surrounded by such positive people just makes me so much more motivated to keep going and do my best every single day. And when I have a hard day, they're always there for me, or if I just want to watch a movie, they're always there. Just going into each other's rooms at night, just to have a little debrief at the end of the day, is just so much fun."

Anyone who's had any roommates in life knows communal living is not for the faint of heart, but KATSEYE are still very much in the honeymoon phase. "I think honestly the hardest part [has been] going to bed at a reasonable time," Manon says between laughs, "because we stay up late and talk so often, and so usually it gets really late, and then we're tired the next day."

"We do have our differences, [but] we have gotten used to them and used to each other's habits," Daniela adds in a more earnest note. "We all go to bed on our own time. One girl will go to bed later than the other girl, or we have to figure out who's going to take a shower first or who's going to use the laundry. So it's definitely at times a little difficult, but I feel like since we have been living with each other already for a good bit, we got used to it. We're sisters. We figure it out every time."

Manon Bannerman of KATSEYE posing on the set of the Debut music video.

Manon Bannerman

 Rahul Bhatt. Courtesy of HYBE x Geffen.

When KATSEYE speak of each other, they seem bonded for life, so it's not surprising to learn they think of each other as their best support system. However, they also share HYBE and Geffen provide them with all the help when needed. "We are going to be here for each other for the rest of our lives [but] the company does provide so much support for us," Sophia says. “We will always have somebody to talk to. Even if we're doing something on our schedule where it's just us and we don't have the girls, they're always checking up on us. Even on any set that we're on, anybody on set is always checking up on our physical and our mental.”

"[Between us], there's this deeper type of comfort that just never fails, and I think that just comes from our sisterhood and the experiences we've had with each other. I really cannot imagine going through this alone, especially this specific unique project that we're in," Sophia adds. “I feel so much better, so much weight off my shoulders.” However, there's still some weight.

KATSEYE fans, affectionately known as EYEKONS, have been waiting for over seven months for their first release, and the members know the wait has been arduous.

"It definitely feels like it's been a while," Lara says, "but I think that we take it very seriously that we want to give out the highest produced quality content that we can. Everything is so detailed down to the creative, the styling, the details of our dances, and the delivery of when we record our songs; we wanted to get everything to the best place that it could possibly be where we are right now. I think that's why it's going to benefit us and benefit everybody that we took our time with it."

Sophia Laforteza of KATSEYE posing on the set of the Debut music video.

Sophia Laforteza

 Rahul Bhatt. Courtesy of HYBE x Geffen.

"To EYEKONS that were waiting, we're so grateful for their patience," Lara continues. “It's been so cool and heartwarming every day to see that through this journey and through Dream Academy to now every single day, they'll be like, 'When is debut? When is debut?' They're just so proactive and so excited and always online asking us questions. They've just really stuck on this journey with us, so we're so grateful that they have, and we promise that we won't disappoint them.”

Musically speaking, EYEKONS have been famished, and "Debut" is the first appetizer KETSEYE is serving. The full course is still waiting and will arrive on August 16 in the form of the debut EP, SIS (Soft Is Strong), via HYBE x Geffen Records.

"The main thing that we wanted to showcase with this debut album truly is our confidence," Sophia teases about the upcoming project. “The whole concept of SIS shows that relatability, but you're still going to see the uniqueness of KATSEYE and what we want to show to the world. A lot of that comes from our chemistry with each other, and mainly it ties down to our sisterhood, and feeding in our passion. It's going to be a lot of outward energy that I feel like a lot of the EYEKONS and the world is going to see. I want our music to touch every single part of the world, and I think that's the best part about being a global girl group, it's that we get to have such a wide range of people that we can connect to.”

"One of our biggest missions through this whole project and with being this global group is to represent our people," Lara adds. “Each of us has such a specific group of people that look up to us and feel like they can relate to us [and] I think that's so beautiful. I'm so excited to actually see that in action and be able to influence people and make people of our cultures feel seen through our music. To really be that representation is our mission.”

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Producer Gordon Raphael reflects on 25 years of The Strokes’ ‘Is This It’

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Twenty five years after The Strokes released their landmark debut ‘Is This It’, producer Gordon Raphael has reflected with NME on its lasting influence, the journey the band have taken since and the renewed excitement surrounding guitar music today.

‘Is This It’ initially arrived in Australia on July 30, 2001. Its release expanded to the UK, Europe and Japan one month later, while American listeners had to wait until October following delays caused by the 9/11 attacks.

In its perfect 10/10 review, NME described ‘Is This It’ as “one of the best and most characterful debut albums of the last 20 years”. The celebrated first record from Julian Casablancas and his bandmates featured ‘Hard to Explain’, ‘Last Nite’ and ‘Someday’. It helped ignite an international garage rock revival after Britpop, grunge and nu metal had faded. The effortless style of the New York group, combined with the album’s memorable guitar patterns and defining lyrics, shaped indie music for the following decade and opened doors for artists including Arctic Monkeys, The Killers and The Libertines.

The anniversary comes shortly after The Strokes released their seventh album, ‘Reality Awaits’. Their enormously influential debut has now existed for a quarter of a century. “It does feel weird to think that so much time has passed so quickly, but it is absolutely wonderful that people are still listening to it and loving it,” the album’s producer Gordon Raphael told NME. “That’s a miracle.”

Although they would eventually transform the musical landscape together, Raphael admits that he “really didn’t understand” The Strokes when he first came across them in New York during 2000.

“Guitar music was very out of fashion when I saw them. ‘Why are these people acting like it’s important?’ It was confusing to me,” he said. “Once I got them in the studio, I thought ‘This is really cool music’. They just picked the wrong time to do rock because no one was interested. In New York, everyone was talking about drum n’ bass and jungle music. That was the big thing. That was the new trend in these clubs.”

“I really began loving their music and liking how serious they were about it and how hard they were working – but I didn’t think the world was going to go back to rock music at that point.”

Julian Casablancas of The Strokes performs at the House of Blues in Las Vegas in 2002 (Photo by Scott Harrison/Getty Images) Julian Casablancas of The Strokes performs at the House of Blues in Las Vegas in 2002 (Photo by Scott Harrison/Getty Images)

Excitement quickly spread across New York’s indie community, which also produced bands such as Interpol, Yeah Yeah Yeahs and TV On The Radio. However, each group was independently developing its identity and sound in a city that had not yet fully embraced what was happening.

“These bands were existing separately to each other, and they met in London,” Raphael shared. “I moved to London in early 2002 and all the bands from New York and America – The White Stripes, Interpol, The Kills, Yeah Yeah Yeahs – they were coming through Club Metro. London was the glue that made New York seem like it was a scene.”

After overseeing ‘The Modern Age’ EP, Raphael already understood the particular atmosphere he hoped to preserve when recording the band. “Pro-Tools was coming in and people could make bigger productions so I said, ‘If you want to do the opposite then go out and play the songs and have that be it. Just play it, I’ll capture it, and we’ll be completely different to these manufactured songs’,” he shared.

“With the album they had more time, so they wanted to make sure everything was as perfect as it could possibly be: every detail done correctly. For young guys in rock ’n’ roll, that’s not usual either. It’s usually like, ‘Oh, just let it slip, it’s just rock ’n’ roll’. These guys were really serious about it.”

Julian Casablanca of The Strokes at the Troubadour in Hollywood in 2002 (Photo by Gina Ferazzi/Los Angeles Times via Getty Images) Julian Casablanca of The Strokes at the Troubadour in Hollywood in 2002 (Photo by Gina Ferazzi/Los Angeles Times via Getty Images)

Raphael still remembers the “incredible excitement” surrounding London in 2001. The UK became one of the earliest places to enthusiastically support The Strokes, with radio stations and clubs playing ‘Hard To Explain’ and ‘New York City Cops’ “back-to-back”.

“There was an explosion going on in the UK, but the record wasn’t scheduled to come out in the US until around September 11,” he recalled of the album’s original American release date of September 25. “Of course it was delayed because of 9/11, and then the tracklisting was changed. I don’t think the US tracklisting was as exciting as the rest of the world’s.”

Because of the sensitivity surrounding the 9/11 attacks, ‘New York City Cops’ was removed from American CD editions and replaced by ‘When It Started’. New York and the wider nation were still processing the horror of the attacks and the arrival of a profoundly different era.

“New York was fast asleep in the summer of 2001, and then completely in a sombre, freaked-out mood after the Twin Towers fell,” said Raphael. “People were in shock. I was in New York on 9/11, only a couple of miles from the site. I could actually hear it and I could see the people being effected. Everyone was tuned into the news.”

“No one was talking about music, then all these bands coming through, travelling to London, making a name, and then that was echoing back into the US. ‘Woah, these bands are getting popular overseas, so we’d better pay attention’.”

After spending years performing in bands and producing music, Raphael suddenly found himself at the centre of a rapidly expanding rock movement that was attracting worldwide attention.

“To finally have something that the world was talking about and celebrating was huge,” he admitted. “The band put my photo in the sleeve along with their own so wherever I went people were like, ‘Oh, that’s the guy from The Strokes, let’s have him produce us and invite him to a party’. It was actually phenomenal and fun. It was a rock ’n’ roll dream come true.”

Raphael returned to produce the band’s 2003 second album, ‘Room On Fire’, which he considers “phenomenally good” despite the enormous expectations created by ‘Is This It’.

“They had been touring for two years before that, so their musicianship was at a peak that I hadn’t seen before,” said Raphael. “They were more like Led Zeppelin than some skinny kids in a basement, like they were on the first one. They were really powerful and muscular on their instruments, so I would say that ‘Room On Fire’ was also a great achievement of music and I’m very happy to be associated with that.”

Their working relationship later encountered what Raphael calls a “conflict” during the third album. He was originally brought in to produce the more arena focused 2005 record ‘First Impressions Of Earth’, but David Kahne replaced him during the recording process.

“I kind of never got over that feeling of, ‘OK, now they’re with somebody else’,” admitted Raphael. “That wasn’t really my sound any more so it didn’t hit me as much. It wasn’t really a collaboration, but they were moving in their own direction and that was great. They’re artists, they deserved it, they were very cool people, so I gave them kudos but I wasn’t that into the sound after the first two.”

The later years of the 2000s brought the period eventually described as “landfill indie”, with a more polished and less imaginative version of guitar music continuing into the next decade. Raphael found much of it noticeably uninspiring.

“I didn’t like it. I moved to London as soon as I could after the release of ‘Is This It’ because I had opportunities to work there,” he said. “By around 2004, people were dressing like The Strokes and using the same patterns in the music, but it was all very slick, manufactured, corporate rock. They weren’t calling me to produce that stuff any more. I moved to Berlin right at the start of 2005 because I didn’t feel like there was anything super-infectious happening in the UK indie scene at that point.”

Razorlight, Editors and other things were happening. It became very pop, slick and commercial but with The Strokes haircuts.”

The Strokes backstage in California in 2001 (Photo by Anthony PIdgeon/Redferns) The Strokes backstage in California in 2001 (Photo by Anthony PIdgeon/Redferns)Speaking from Los Angeles after completing a studio session with “a very cool rock band” named The Abomic Toms, Raphael says the current generation of guitar groups has made him optimistic about a quieter revival taking place.

“Having lived in Berlin for the 2000s, the 2010s and 2020s, now I’m in the UK again,” he said. “There is an incredible live guitar band revival post-pandemic. I recorded 27 bands in New York City the last time I went there. That’s incredible. There are more bands in New York than I’ve ever seen before, more than the ‘80s, more than the 2000s, and there are many, many good ones. Also, the regional scenes up in the North of England, in London, in LA, in New York, they’re all popping off but they’re not connected. The media isn’t really paying attention.”

“If I recorded 27 bands, that means there’s a whole host of stuff going on in New York but only New Yorkers know about it. I find that very strange, but it is very gratifying to know that people are back after the pandemic. They don’t just want to sit back and do laptop stuff and go on the internet, they want to go and play shows and hear live music. I think that’s a beautiful thing.”

Asked whether guitar music could experience another huge cultural breakthrough similar to the one sparked by The Strokes, Raphael remains uncertain.

“I don’t know about that,” Raphael replied. “Since the year 2001, music has shifted because of streaming and the fact that it’s free. It’s now competing with a whole lot of other social and entertainment things. I don’t know if music has the same place in culture any more as it has historically. I’m not sure how great music and phenomenal bands fit into today’s cultural landscape. I’d love to see it re-emerge as something that people have to agree upon, but I’m not sure how that’s going to function.”

He continued: “There are people developing beautiful musical ideas and bands. Whether or not it can catch fire and enable them to make a living? I hope so.”

Raphael was also asked for his thoughts on The Strokes’ latest record, ‘Reality Awaits’.

“I’m very happy to see the reaction of the world,” he replied. “Whether they’re liking it or not, they’re talking about it. I think Madonna’s record [‘Confessions II’] and The Strokes’ record seem to be the talk of the summer, which is very exciting. Both of them deserve it. The Strokes are touring and everyone is raving about how great the shows are, so I’m all for this.”

The Strokes’ ‘Reality Awaits’ is available now. The group are currently touring North America before travelling to the UK and Europe in October.

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