Shygirl – ALIAS EP



2020 – Electronic

Because Music

In her second project, the British singer and DJ Shygirl makes her erotic desires sharper and with more personality, creating a naughty futuristic night club.

Throughout this turbulent year, several artists explored their sexuality in different ways. While some took their metaphorical orgasms and breathes to dance floors, others seemed to be more direct in their wildest desires that were not always kept within four walls. However, the British singer and DJ Shygirl decided to bet on something different, going almost totally against the tide of sensuality that some works of 2020 created. In her second work, the EP ALIAS, she spits out her most sensual and erotic desires in the most vulgar and fun way possible, alongside an even sharper and impressive production, delivering a unique project.

In a nutshell, ALIAS is about sex and fucking. During its short duration, Shygirl, without any strings attached, sings all her most erotic and, by the way, strangers sexual desires. However, at no time does it really make it sound strange or does it create a certain repulsion in us. Impressively, ALIAS is a fun project. Not even the troubled electronic instrumentation, that has Oscar Scheller and SOPHIE on the production, and the undeniably explicit lyrics make you feel that, somehow, the EP carries something wrong. In an even more direct way, ALIAS is the unexpected combination of extremes: extremely sexual lyrics, a soft robotic voice from Shygirl and an electronic beat coming directly from a futuristic nightclub.

Undoubtedly, what draws the most attention in ALIAS is the bold production, which has collaborations from longtime friends of Blane Muise ― Shygirl’s real name ―, such as Sega Bodega, who also participated in the singer’s debut, 2018’s Cruel Practice. However, despite the similarities with her first project, ALIAS goes further in all aspects. The album’s opener, “TWELVE,” is a good example, sounds like a sexy robot kicking in a door. In it, Shygirl challenges us. She sings, “Waiting, watching, fantasizing/So you like what you see?” And then, she defines herself in the most grotesque and charming way possible, “Mommy made a naughty kid/Daddy raised a wild one/Daddy raised a fiend/Pulling up on bitches every chance I get.” Meanwhile, synthesizers shout electronic notes and original samples in our ears, almost mesmerizing us. In a way, they did it.

The rest of the tracks also follow the same qualities: Shygirl, in front of a unique production, singing about how strange she is and how exotic and erotic her desires are. Again, she makes it all fun. “SLIME,” which was produced by SOPHIE, features neon gun shots of synthesizers, heavy and dark bass and dog growls while she emphasizes, “She came to fuck/Tell me now, if you’re looking to get down/In the back, in the front/On the highway in your truck/I don’t give a fuck, turn me up.” In “FREAK,” with synthesizers that sound generic but don’t really bother, she sings about how unique she is (“I’m a freak, yeah, I know/know you like to hear me say it”) and how she puts sex above everything and has no regrets (“Real nasty, never take me home/Won’t ever meet your mum”). However, the highest point ends up being the bridge of the track when she speaks, almost moaning, and you almost moan with her.

Probably the weakest part of ALIAS is those songs that ended up sounding more orthodox than the others. “TASTY” is the best example of this since the lyrics don’t seem to be as wild and free as the others and the whole sound of the song seems to revolve around samples of electronic music from the beginning of the last decade ― it really sounds like something everyone has already heard. “LENG,” in turn, although it seems a little sassier, it still doesn’t seem to be as out of character as the others ― something here reminds me of Lady Gaga’s ARTPOP, perhaps the synthesizer imitating a viola. Fortunately, this pays off in “BADWY,” which, in addition to showing Skygirl’s vocals that leave you breathless, has a more eccentric atmosphere, and “SIREN,” which, despite sounding like a generic nightclub song of the past decade, ended up fitting well here. At the end of the day, these minimal mistakes ― which don’t really mean that the songs are bad ― fail to bring down ALIAS and its vision.

LISTEN ON: Apple Music, Spotify and Tidal

Leave a Reply

Fill in your details below or click an icon to log in: Logo

You are commenting using your account. Log Out /  Change )

Twitter picture

You are commenting using your Twitter account. Log Out /  Change )

Facebook photo

You are commenting using your Facebook account. Log Out /  Change )

Connecting to %s