EP Review: Allie X - Super Sunset

Allie X has always released solid music. Her EP and debut album CollXion and CollXion II were solid bodies of work, the sounds of which would surprise you if you went by the covers and the videos from the songs alone. The sound of both CollXion’s can throw you if you go off of the visuals alone, because based on the darkness and strangeness of them you’re not expecting the songs to be so vibrant. We’re always told to never judge a book (or an album in this case) by it’s cover, and yet we stay doing it. But Allie X’s Super Sunset in a way addresses this. Doing away with the muted tones and palettes of CollXion and embracing bright yellow and having the word ‘Sunset’ in the title. There’s still some juxtaposition at work given that Allie is dressed as a crying nun with acrylics and a perfectly pressed wig on the cover, but it still feels like a better representation of the music.

Allie X’s penchant for being a chameleon has some actual context on Super Sunset, and it works really well because of it. It doesn’t make the songs any better per se, but it makes Super Sunset easier to sell as a package which includes the music videos and performances which came with it. But for all of the sonic and visual theatrics, there is a core story at the heart of this EP, which is the fight to maintain your own sense of sanity and self in a world that wants you to be everything but yourself. And how despite your best attempts to fight against it all, you find yourself slowly becoming the person you vowed that you wouldn’t.

The backdrop and the inspiration for Super Sunset is the city of Los Angeles, and the experiences that Allie X had upon moving there for her career. The entire album has a relatively bright disposition about it despite how heavy some of the subject matters of the songs are. “Girl of the Year” is about the shelf life that so many girls have in the industry; and that they’re only good and wanted until another girl comes along to replace you. But the entire song has this fun carefree bounce about it, which encapsulates the feeling of being the girl of the year and JUST that alone. And the song can also be interpreted as a girl accepting that the guy she's with isn't a long term thing and just choosing to enjoy the moment, before he decides it's time to move on. Either way, the song is about men having the power to choose who is hot at a given moment and women being made to accept that and be almost grateful they were allowed to be girl of the year at all. You could say that the brightness of the music masking the darkness of the lyrics is a metaphor of Los Angeles in itself. A place of dreams which is amazing once you’ve made it, but hell if you’re at that point of trying to make it. And the dark side of life in Los Angeles is always there, no matter which side of the fence you fall.

It’s easy to listen to songs from artists about the belly of the beast of L.A. and just roll your eyes. Especially when the artist singing the song is immensely successful, appears to have it all, and has in turn benefitted from AND also contributes to the fuckery of L.A. But there’s credence to hearing Allie X’s takes on it, because she isn’t from L.A. A bitch is from Canada. And at the point that Allie X had released Super Sunset, she didn’t have a major record label (she still doesn’t at time of writing) and she hadn’t fully broken through yet (she still hasn’t) . So her point of view felt that bit more credible, because she was living through the scenarios in her songs and still is.

Despite how cerebral some of the songs on this EP are, it never gets in the way of delivering a great pop song. It’s no wonder why Troye Sivan frequently works with her. She has a great way with penning pop songs which can operate at different levels. And no matter what, Allie X gon’ give you a good chorus. And the nice thing about Super Sunset is that it features a gaggle of songwriters, men and women; some of whom are Canadians based in Los Angeles and some of whom are natives. So I can only imagine what some of the songwriting sessions were like, and the types of discussions which were had.

The production on Super Sunset is also top quality. And despite the number of producers involved with this thing (quite a high number for a lil’ ol’ independent EP), there is still a cohesiveness and a through line with the sound. Every song sounds crisp and is meticulously produced and mixed. There’s also a largeness to the sound of every song, which commands that you listen to them loud. And the sonics of each song (but particularly “Science”) is so enveloping that you can’t help but think how some of these songs would play live. It’s also a testament (something we’re seeing more and more with indie artists turning in great EP’s) to how you don’t have to work with a big name established producer for good music. You don’t need big names for good music. You just need talented people.



How good the music is on this thing is what makes Super Sunset’s commercial reception as tragic as the crying nun on the cover, because this EP had songs which could and should have been hit singles. I will never not be shocked at how “Girl of the Year” was not the breakout hit that took Allie X into the mainstream. This song should have been EVERYWHERE. H&M shoulda been running it on repeat in their stores. Always and Tena shoulda had it in commercials. A bitch shoulda had a whole Pepsi commercial with the song. The same can be said for pretty much every song on Super Sunset. But “Girl of the Year” really is the one which just screams ‘Hit single with more legs than a millipede’.

Allie X has always felt like an unfortunate artist, in the sense that she always misses the window when her music could have really hit. Not because she’s late, but oftentimes because she’s too damn early. “Not So Bad in LA” sounds like a Billie Eilish joint before we even knew who Billie Eilish was. And then on the flip side it’s just a case of Allie X putting out great music which gets overlooked because it’s not in the package and with the face that people want it to be. Had Carly Rae Jepsen released “Little Things”, it would have been a hit. Had Taylor Swift released “Focus”, it would have been a hit. Part of the proof of what Allie X is singing about across this EP is in the reception to the EP itself. A bitch ain’t lyin’.

Super Sunset is a great, well considered and structured EP. I have no doubt that Allie X and co. could have stretched this into a full length album. But I appreciate that Allie felt that she told the stories she wanted to tell, and left it at that. The lack of excess, if anything, makes Super Sunset more impactful than if it were a 12 to 13 track album.

Allie has always worn her heart on her sleeve when it comes to her songwriting and showing a clear point of view on things, but Super Sunset really sheds a light on the two sides of Allie X. One is that she had a great sense of humour and that she’s not afraid to put that into her music; even if it’s at the expense of some not getting her satire. The other is that Allie is not afraid to be honest, but also isn’t overly concerned about whether you believe what she’s singing about is true to her or not. “Not So Bad in LA” is a perfect example. Yes, it’s satire, but it’s also very true and reinforces what everybody says about life in L.A. But it’s a good song either way, and enjoyment of it doesn’t hinge on whether you believe the song to be true or not, or a joke or not. It’s just a good song regardless. And this is kinda Super Sunset all over. There’s a lot to dissect if you choose to, but you can also just not, and still appreciate how good these songs are, and that Allie X turned in a solid body of work which features more effort and conceptualisation than most bother to put into albums.

Allie X is the pop bitch that the lists don’t feature.

Whether you know of Allie X, but don’t know where in her discography to start, or you have no idea who she is - Super Sunset is a great starting point.

Verdict: Everybody comes to Hollywood

Highlights:
■ Little Things
■ Science 🔥
■ Girl of the Year 🏆
■ Can’t Stop Now 🔥
■ Focus