Beyond the Alias? A tête-à-tête with grime-dance hitmaker SHYGIRL

You only have to take a look through the tracklist for SHYGIRL’s latest EP to get a sense that she has no intention of living up to her name. Beyond a naturally imposing stage persona, the London-born rapper’s ingeniously ostentatious allure has come alive through a visual glossary of musical alter egos – she has toyed with phygital fashion, augmented reality, holograms and recently a doll-like CGI avatar in “FREAK“, her collaboration with Glaswegian producer Sega Bodega. There is a sense of freedom in the crafting of cybernetic aesthetics, which her sound – a fusion of grime, 2000s pop, electronica, garage, futuristic baselines, hip-hop and experimental sonic frills–rarely fails to reflect. Today, Shygirl–born Blane Muise–raps, yet her raw beats are unmistakably whimsical, a testament to her early days as a DJ galvanising the London underground club scene, where her name first started to reverberate in 2016 with the single “Want More.” Ever since, Muise has relentlessly claimed her dues in the industry: collaborating with the likes of Arca and SOPHIE, releasing a hit debut EP (Cruel Practice, 2018), and is set to release her second, Alias, on November 20th. Ahead of the release, the astute artist and experimental beat-maker breaks down her influences, relationship with technology, and making music in a post-genre cultural mood. 

You’ve developed a distinct and finely-tuned aesthetic, underpinned by digital mediums such as filters, avatars and holograms. As someone who has wholeheartedly embraced the digital world how important is technology in developing your own aesthetic identity?

I’ve never really been that tech-minded but I’ve always approached it with a sense of wonder, particularly when considering what it can potentially add to the creative process. I’m frequently taken aback by the capability of the technology and it really fills me with enthusiasm. There’s so much to push into because of how much there is on the undiscovered and untried side of things. Working with mediums that nobody else has really begun engaging with, at least in the same way that I am, has allowed me to almost forge through unchallenged.

New technology gives me an excuse to learn so much more. I can’t think of another opportunity where I would spend so much time sitting down with an animator. Even before quarantine, I’ve always wanted to work with animation. Similarly, I’ve always wanted to explore how holograms can be used. How far will I take my digital experimentation? Truthfully, I don’t know, I just love how much room it affords me to be spontaneous.

What is apparent from both the content of your music and the surrounding aesthetic you’ve cultivated is the unapologetic ownership you take of your womanhood. This is especially visible in the way you embrace technology, which has historically been assigned an excessively masculine connotation. How do you navigate the pressures associated with expressing your femininity?

What you’re saying is spot on. Sometimes, I stop myself during the creation process and remind myself I would be taken less seriously, if I was less visually experimental, and played less to my femininity. It would make it so much easier to be considered ‘on-par’ with a male rapper. 

Before doing music, I was a photographic assistant, and through that experience, it became abundantly clear to me just how heavily masculine an area like photography is, especially coming from university— from the guest lecturers to the educational side. Every time I reached a point where tech converged with art, I had men showing me things that other men had done. It doesn’t necessarily entice you to want to learn more.

The animator who I’m working with is so lovely and has been more than accommodating for all the ideas I contribute, even though some of the things I suggest he’s never tried. It also helps that he comes from the queer community—that’s where we can align even though there are differences because it offers an alternative to this straight white male vibe. 

When I attend my video shoots, the whole shoot team is male. Whilst I do see more women, including female DOPs—which I think is great, the experience makes me question whether I just don’t know the sector well enough or whether simply not enough women have roles within the industry.

In music, the role of fashion and in particular stylists highlight an inextricable link to an artist’s assertions of self-expression, so before we move onto music, what is your personal relationship to fashion?

I have a bit of a fashion background—I worked as a booking agent for a modelling agency for a couple of years. As a result, fashion parties became my night out rather than going to a club. I’d meet a lot of emerging designers and establish relationships with them. 

I couldn’t really identify with big fashion houses or “fashion” in general and I’ve always been drawn towards alternative style icons. Someone who comes to mind is Kesh— I kind of grew up on her style from MySpace. It was always more personality-driven with their personal style taking precedence over what was in fashion. I’ve worked with several designers from Fashion East on the development of avatars including Mowalola, ASAI and Maximilian Davis —they’re all people who’ve helped me, particularly when I’m thinking about who I want to embody when I get onstage. 

Crucially, I can identify with the type of women that they want to dress—especially ASAI. That’s someone whose whole collection could be someone’s wardrobe, and you could still be a different person every day—above all, designing for the eclectic personality. I’m really drawn to certain textures. Even if it’s not completely comfortable, at least I feel slick and shiny. I want to activate all your senses.

By knowing the passions of the people making the clothes I’ve developed a genuine connection to the garments. It lent itself to why I picked certain things for the avatars that I have. I wanted to further the narrative of the person they’re designed for.

I wanted to touch on the decision-making process that led you to incorporate such eclectic sonic influences. Across the runtime of the record, you move fluidly between genres whilst also maintaining a genuine sense of unexpectedness as to where you’ll go next. Is there a genre of sound that you primarily identify with?

I really think it’s genreless at the moment. I was DJing before I started making music and I’m used to genre-blending and listening purely to the sonics and vocals that carry through. I don’t know if I’ve released enough music yet to really define what’s going on—I’m just trying to leave enough room to build a big picture rather than a narrow view. 

I’ve been a listener of music a lot longer than I’ve been making it, so naturally, there’s going to be sonic crossovers in my material as well as a variety of inspirational sources. I listen to everything apart from screamo and metal, but with that said there’s definitely a time and place for everything. I haven’t really been able to pin my sound down onto a genre. I feel like as a society we are moving past genres.

People should be surprised and inspired by artists rather than just getting what you expect from them. If you’re just getting what you expect you may as well have just listened to the last release on repeat.

How did you come to the album title of ‘Alias’?

I like the sound of that word. Sometimes when I think about words, I think about how it feels when I say it—like how it feels in my mouth, you know. How it feels to hear the word and how it feels to see the surrounding context. The English language is rarely seen as beautiful but I think it can be. SHYGIRL is an alias and I have many aliases but they’re all me.

I think that it’s really powerful to name yourself—a name can give you a new purpose. I have so many trans friends who take on different names for different phases of their life. It made me think about some things that I’ve been doing myself all my life, even subconsciously taking note of the power in a self-defined identity.

What was the biggest challenge of making this album and what was the biggest reward?

I’ve always been uptight about the visuals because I have such a clear idea about what I’m trying to make—making the music is much more enjoyable. I feel way more inquisitive and child-like, I’m open to the spontaneity of it, but with the visuals, I have such a defined vision of what I’m trying to create in my head that it can’t be compromised. 

For me, that can be a good thing, but I always try to maintain balance when searching for perfection because I want to be able to enjoy the process and sometimes you miss so much trying to reach your idea of perfection.

Do you think of yourself as a perfectionist?

I’m realising that I am in some respects. It’s so bizarre because I’m really easy-going in some ways, but then again I am quite tight about other stuff. This is probably the biggest project that I’ve done, especially in music, where I have had a clear idea of what I want to achieve from the very start. Seeing every part come to fruition gives me such a strong taste of satisfaction.

It seems that in terms of your future musical direction, you’re very open to the flow of whatever comes next, but I’m intrigued to know who inspires you and who are you looking to collaborate with?

Collaboration-wise I don’t know. You never really know what someone is going to be like until you get into the room with them, I’m just happy to work. There are so many people I love—I’d love to work with Rosalía, but even getting to work with Arca and SOPHIE has been great. So many artists who I admire reach out to me—just to hear them say that they listen to the stuff blows my mind.

What music shaped you and who did you listen to growing up?

I listened to some moody stuff like Massive Attack, Moloko, Aphex Twin, Björk but then I’d also be listening to Madonna, Vengaboys, Basshunter, and Kylie Minogue. I didn’t really listen to Hip-Hop. I only started listening to Grime when I was 14. I grew up listening to Club and Pop mostly. If I had listened to Rap earlier on, I would have started making music sooner.

SHYGIRL’s latest EP, ‘Alias’ is available to stream from 20 November 2020 on all major streaming services. You can listen to ‘SLIME’ and ‘FREAK’ now.