Issue 21 – In Conversation with .. 10!

We had the pleasure of sitting down with pop innovator Allie X, fresh from launching her
much-anticipated fifth studio endeavour, "Girl With No Face." Steeped in the defiant essence
and pioneering soundscapes reminiscent of the early '80s, the album's tracks are a unique
blend of comforting nostalgia and brand-new auditory experiences.
"Girl With No Face," takes listeners on a high-energy escapade into the most shadowy corners
of Allie's imagination, all articulated with her distinctively sharp humour. The lead single,
"Weird World," is paired with a visually arresting video directed by Allie X herself. The
release also includes a powerful trio of tracks: "Girl With No Face," "Black Eye," and the
breakout hit "Off With Her Tits," which quickly achieved iconic status in the queer community
and exploded with millions of streams within just weeks of its release. Showcasing the apex
of her vocal range, Allie X oscillates between fierce cries, haunting whispers, and a presence
that is unforgettably beguiling
Can you tell us more about the concept behind
your new album, "Girl With No Face," and how
it explores your personal journey?
I didn't start out with a concept. It all began
with the idea that I would try to write and
produce something myself. I knew I wanted
to make it on synths and drum machines, and
I knew my references sonically.
What I didn't know was that it would end
up being my angriest and most aggressive
record. I describe the Girl With No Face as
a presence that emerged and guided me
through the process. Undoubtedly something
inside of me that was so buried she felt like
an out of body presence but so familiar at
the same time. She came for blood and was
pretty funny too.
How did spending three years in isolation
as the solitary producer, writer, and creative
voice for this album impact the overall sound
and themes of the project? What kept you
going during this time?
Well it's pretty unhinged, and that certainly
reflects my mental state. Isolation and no
feedback loop except your own mind will do
that to anyone. What kept me going was my
willpower, stubbornness and obsession. I had
to see it through.
We understand that you took inspiration
from the technology and hedonism of the
early 80s new wave scene for this album. Can
you discuss how this influence is reflected in
the songs and the overall sonic experience?
Ya. it's pretty simple. I tried to use the same
gear and approach as all my favorite bands
from the early 80's. I trusted putting it
through my own lens would be enough to
make it unique. And I think it is, despite how
referential it is.
You mentioned embracing the limitations of
old temperamental equipment for this album.
How did these limitations contribute to the
sound that you wanted to achieve?
Well outboard ear, especially old gear,
is always going to be unpredictable and
imperfect. A lot of personality. Plug ins/soft
synths are limitless and bit too perfect for me.
Uninspiring. The gear I used had so much
personality it would get my imagination going
right away. Sort of felt like conversing with
someone with a strong viewpoint VS a yes
person. I also prefer a more tactile hands on
experience.
Can you discuss the significance of the masks
in your album's visual campaign? What role
do they play in portraying and exploring your
identity as an artist?
I've always explored identity in my work.
The "X" in Allie X has always had a
connotation to identity/anonymity, so it's not
a new exploration for me. Masks just felt
right as the visual thread.
Unnerving, like the experiencing of making
this record, and maybe listening to certain
parts of this record. I never saw the face of
this presence I mentioned at the beginning
of the interview, so it made sense to give her
face multitudes of interpretations. We tried to
do this with the makeup design too.
How did your collaboration with Justin
Meldal-Johnsen help elevate the album's
sound? Were there any specific challenges or
breakthrough moments during this process?
Justin was an angel that came in at the end
of the process and got me to the finish line.
I'm not sure I could have done it without him.
With the exception of the title track "Girl With
No Face", I would say that all songs were
"cracked" by the time I approached him, so
I wouldn't use the word "breakthrough".
I would use the words "refine" or "perfect".
We did arrangement changes, sound
additions, sound replacements. He has
an INCREDIBLE studio. A total dream for
someone like me wanting to make a record
on almost exclusively outboard equipment.
He also had vast knowledge of the genre
I was referencing. Far beyond my knowledge.
I totally trusted him as a sounding board,
and was able to "let go" and feel good about
these songs/productions with his approval.
A far better and more experienced producer
and sound designer than me, I was so lucky to
work with him at the end of this process.
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