Looking beyond convention and into the hazy distance of innovation is only possible for those with the sharpest of visions. Toronto-born, LA-based polymath Allie X is certainly that way inclined.
In her decade long time in the releasing spotlight, she’s released a plethora of impressive work, experimental and eclectic in her sound. She’s written for the likes of BTS and Troye Sivan, has toured with Marina & The Diamonds and Charli XCX, and has developed an immensely distinctive visual and sonic approach.
Allie has now returned with a new body of work in the form of Girl With No Face. The highly anticipated record sees the singer, songwriter, producer and director push her musical and personal identity further than ever, drawing on a moody, goth-electro-pop approach that captivates and challenges. The production throughout feels a simultaneous ode to the past and glimpse of the future, whilst Allie’s songwriting is visceral, vivid and – above all – thoroughly good fun.
We had the opportunity to catch up with the pop trendsetter to discuss her visual aesthetic, and the making and conceptualisation of her new album.
Listen to Girl With No Face…
Read the exclusive interview…
When did your relationship with music begin?
My relationship with music began in my earliest memories. Singing to myself as a loner kid on the playground. Singing as I pretended to turn into a mermaid in the bath and in swimming lessons. Making songs about my own life and singing them to myself.
Who and what has been an influence to you?
SO many things obviously. But I think first and foremost the need to be seen and heard. As someone who is often misunderstood (and has been ever since childhood) having an artistic expression has always been vital to me. A way to feel valuable and lovable.
How would you describe your visual aesthetic?
Well it is ever evolving, but I always like it to ride a line between beautiful and uncomfortable. An exaggerated representation of how I experience life. I love melodrama, surrealism and glamour, so you’re probably never going to see me put out album artwork that is casual haha.
How do you feel reflecting back on your earlier discography?
Some ok songs, a few great songs and and a lot of bravery. I’m proud of my early works.
How does the new album differ from your previous albums, and how is it similar?
It is probably the most distilled and pure version of “me” ever because I did it mostly by myself. Cape God was vulnerable and beautiful but it was also very much a collaborative piece. This one is me through my own lens and no one else’s for better and for worse!
What was the creative process of your new album, Girl With No Face?
Insanity. ha. I decided I would take on producing my next album in the summer of 2020. It was really fun and empowering when I started, but then I realized the magnitude of what I had decided to do and how technically limited I was. I had to overcome these technical limitations with the following methods: trial and error, reckless abandon and sheer will power. I pushed myself harder than I ever have on an album and I think I did some damage mentally and physically. On the flip side, it was so liberating, proving to myself I could do this. I think no matter the public reaction I’ll be proud of this and think of it on my death bed.
Where does the LP’s name stem from?
Well I guess TECHNICALLY it stems from the fact that I wrote a song called “Girl With No Face” and it just sounded like a good album name. But on a more unconscious level I think of “the girl with no face” as a ghost that helped me write the album. A presence that emerged in the room with me as I wrote it. Writing this body of work was an involuntary self exploratory experience I wasn’t really expecting or ready for. Layer by layer I got to know myself and my true feelings a bit better. This presence, this ghost emerged and I sort of became possessed by her. She was angry, funny, vengeful, strong…. I think I needed to tap into her to survive the process. That’s my best way of understanding and explaining for now.
You are often satirical and tongue-in-cheek with your lyricism. Do you think that songwriters tend to be too restrictive with their words, especially in pop?
Yes is the short answer. It’s tricky, because the job of the average commercial pop writer (someone trying to chart on radio) is to come up with something that can resonate universally… which means you end up with a lot of generic lyrics. I’ve always found my lyric inclinations to have no place in those writing rooms. As a result, for many years of Allie X, as I’ve attempted co writing, I’ve struggled with lyrics. I thought I was a “slow” lyricist. On this album, the words fucking poured out. I think I just needed a safe musical context/environment for my words to come out. That was one of the most satisfying parts of writing this album.
Is there an overarching message across the album? What is the record trying to convey?
It’s hard for me to say because I’m so in it. But my experience was one that felt quite masculine? A lot of aggression and anger. I think I’ve held a lot of my personality back for a lot of my life as an attempt to fit in. This record some of that stuff I’ve been holding in was unleashed I think. Even vocally, I let it out. Most fans have probably never heard my wail and scream like this on a recording. The record is a coming to terms with who I am and what I have to say. A sort of “like it or not, this is who I am”. That said, I hope I calm down a bit on the next record lmao.
Has individuality always been a motivator for you?
Yes. Yes a million times yes. But also as I mentioned earlier, I want people to love me. haha. So I think I’m always trying to be truthful and present the most authentic version of myself as individual, but at the same time I also have an annoying super strong awareness of what others think of me, and it bends me in directions that are unnatural and uncomfortable,
What’s to come from you this year?
Who knows. Hopefully some rest and relief. And connection. Dogs. Lakes. Friends. Icon status. Smaller tits.