Kaitlyn Aurelia Smith

Kaitlyn Aurelia Smith, honestly, isn’t just some name floating around the indie music scene—she’s the kind of artist who slips into film and leaves an impression you won’t shake off. You can spot her work across a handful of movies, and it’s not the usual, predictable stuff. Duck Butter (2018) is one of those flicks that doesn’t care about playing it safe. It smashes clichés about love and intimacy, tossing two women into this manic, 24-hour experiment—raw, a little messy, maybe even a bit too real, and Smith’s music just kind of hums underneath the chaos, making the weirdness feel oddly beautiful. Then there’s Creative Control (2015), a black-and-white trip about tech, obsession, and that blurry line between what’s real and what’s just a glitchy fantasy. The film sort of pokes fun at our collective addiction to screens and illusions, all with this dreamy, almost otherworldly soundtrack. Smith’s contributions here? They basically turn the whole tech-noir weirdness up a notch, like you’re floating through a slightly broken VR headset. Now, jump to 2024, and you’ll find her again in Omni Loop—a film that, honestly, is hard to pin down if you haven’t seen it. Think sci-fi, looping realities, and a vibe that’s both hypnotic and a tad unsettling. Kaitlyn’s sound is everywhere, shaping the atmosphere, making the experience feel like you’re drifting in and out of a dream. She’s got that rare touch, you know? Not just background music, but something woven into the bones of the storytelling.