Behind LIZ’s Sugary Music Lies a Whip-Smart Mind

The biggest popstars are often the best. But not always. Just beneath the surface lies Mad Decent's LIZ, casually schooling household-name popstars at their own game. In just a few years, she's amassed quite the discography: the introspective EP Just Like You​, the brat-pop banger "When I Rule the World"​, and now her Cross Your Heart​ mixtape, which spins countless SoundCloud trends into LIZ's orbit. It's a 16-song, 33-minute blast of pure pop bliss - few artists have ever found this much emotional depth​ in bubblegum pop. On the other hand, the accompanying editorial​, a collaboration with fashion house Nicopanda, puts an uncanny twist on the modern popstar image.

Not that LIZ ever holds back, but we had an unusually candid conversation about the difficult year that's led up to this release. Behind her sugary music lies a whip-smart mind. It's not if, but when LIZ rules the world. It's just a matter of time.

And by the way, she's actively looking for new management. So if you're that somebody…

Noisey: Why a mixtape?
LIZ: I was trying to decide on the audio component for the Nicopanda editorial, and I thought it'd be a natural way to give everyone a taste of what I've been working on. And I don't know many pop artists who've done that format – though I loved when M.I.A. used to put out mixtapes. Though it wasn't really meant to be an actual release, like on a label.
 
Though it feels like it's become one.
It does, which is awesome! It's been over a year since my last single came out, and I was dying to put out new material. My A&R as well as the President of Columbia in the US both left for Capitol Records, so it's taken a while to regroup after losing my champions. But Columbia is a legendary label, so I hope they still want to be a part of what I'm doing, and that we can make my project work together.  I've also basically been management-less for most of this year, so it's been up to me to set up all my own sessions, appearances, collaborations, fashion and brand opportunities. I've had no choice but to go rogue, and it's been scary and unsettling – but also empowering. I just refuse to give up. My artistry is my livelihood. I mean, I think I'm a pretty fuckin' viable pop artist. A lot of people are just a song away.

But I'm excited for what's to come, because I'm in some great sessions now, with some great collaborators on my side. And we're going to focus on honing my sound into something that's easily identifiable as LIZ. I like so many things, and I've always looked as that as problematic. But I do think it's starting to become a strength.

How do you coordinate working with so many producers, and keeping your sound cohesive between them?
It's tough. I mean, I'm my own A&R. But when I work with a producer, it's usually because I'm a fan of theirs. So I'm after something they do that I like. But I'm open-minded, and I'm interested to hear how producers perceive me and the sound I'm describing to them. But finding cohesiveness is down to me directing the session. I'm a producer in that sense, because a lot of times I'm crafting these tracks myself with the producers.

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Image: Brian Ziff​​/Digital makeup: Golgotha​​​

Your music seems so idealistic – songs like "Star", "Cross Your Heart", "Run for Cover" almost feel like pop as life advice. Do you ever struggle to stay authentic?
I don't think so… I'm really focusing on my point of view through the lyrics. It's been good for me to go through a tough year. It's made me stronger, and I've gotten to know myself so much better.

I've noticed there was a theme of self-love to these songs. I feel like I constantly need reassurance in my life, and when I'm not getting it from my usual sources I just have to tell it to myself. And on songs like "Cross Your Heart" and "Star", I'm singing to the listener – but I'm really singing to me as well. It's empowering… you gotta fake it till you make it, right? You tell yourself that everything's gonna be okay, that you believe in yourself and what you're doing, and that everything happens for a reason.

I mean, some of my songs are super fun, and have a sense of humour. But recently I feel like I've been pretty vulnerable. I used to look at that as a weakness, and now I think it's more a strength. I think you have to balance all the fun and glitz with real human feelings. If I can inspire even one person, or make them feel better about themselves, I've done my job.

"Holy Water" has already become a fan favourite. So who are the "thirsty hoes" you call out in the song?
That's one that's totally cheeky. At the time, I wrote it about this group of underground kids that were giving me a hard time. I feel like I've been misunderstood my whole life. I'm actually a really sensitive person, and I notice everything – I'm intuitive. There was a second verse that wasn't on the mixtape, but it went:

"Since when you been texting my phone
My guestlist is full, don't you come to my show
No, wasn't invited
You thottin', I'm flossin', ain't none of that poppin'
Bitch, I'm too grown"

*laughs* So it's about these kids that are nasty to you, who then ask you for tickets to a show because there's someone else they want to see. But I don't even feel that way anymore. That's definitely a fun song, because I just put on a character, and lots of people like to tap into that bitchy side of themselves.

There was this amazing picture you posted to Instagram a few years ago, of you and a young [Jillian] Banks dressed up for Halloween. What's the story there?
We grew up next door to each other, and we carpooled to elementary school together, went to junior high and high school as well. On the street I grew up on, it was all boys, and I was the only girl until Jillian and her sister moved in. So then I'd hang out with them every day after school, basically. But it's so funny, it's such a small world.

When did you first know you wanted to be a popstar?
Probably when I was twelve. I did some musical theater in school, but I took voice lessons to learn how to sing soul, R&B, pop – I was listening to Mariah Carey, Christina Aguilera, Whitney Houston. My voice teacher at the time told me about this audition for a girl group. So I was like, "oh my god, of course" – I bugged my parents to let me go. I wasn't right for that group 'cause I was really young. The other girls were more developed – they were hip-hop dancers, and I was a ballerina. But I started working with their producer, and began my journey there.

Cross Your Heart feels like your most fully realised work to date. Do you finally feel like you're where you want to be as an artist.
I was thinking about that the other day. I don't know why I have these really morbid thoughts – like, "If this is the last work anyone ever hears from me, I'm pretty happy with that." But I have so many more songs, ideas, visual concepts that I want to do. I'm not afraid to go super wild and kooky with it. I did the most bizarre song the other day – I sound like a Japanese robot. But it's perfect to me!

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​Tell us about the Britney sample that leads into "Run for Cover", and the end of the mixtape.
I'm just obsessed with Britney – it was from some old interview on YouTube. I found that part to be so nostalgic and sweet… but there's also something really dark and unsure about it all. Her laugh is like, a very nervous laugh. The guy interviewing her seemed like a bit of a creep!

I feel like Britney was the queen of being poised, and giving really polite, diplomatic answers. In the Nicopanda editorial, we play with the packaging of popstars. They made my skin look all plastic. So "Run for Cover" is a bit of a response to that. Sometimes you just want to disappear, and not let all your fears and judgements get to you.

I have to ask – what are some of your favourite underappreciated Britney tracks?
Oh, Blackout was an amazing album. "Radar"​was such a good song – and that was on two albums! That "Mona Lisa" song too, which is very sad – from the Original Doll album, which never came out. Britney was actually talking about herself, saying "you never know what's behind the smile". And that song "Soda Pop", off …Baby One More Time, is hilarious.

She goes so big on it, like Christina!
She's really singing like Christina! Whoa, damn girl! I like the new album​ a lot too. I love the first track, "Invitation"​– it's very eerie, and pretty. I actually wrote "Star" right after listening to it. Different lyrical content, but I did some of those little swells in the transitions. What are some of your favourites?

I think about "Born to Make You Happy"​ a lot. It's so weirdly submissive.
Oh my god, it's so inappropriate, right? It's so strange for a seventeen-year-old to be singing that. I sang it at my friend's bat mitzvah, too – they had a karaoke room. *laughs* I love "I'm Not a Girl, Not Yet a Woman​" as well. And that video was incredible.

How do you feel about Crossroads? 
It's iconic for her. It's not a great movie… But there's something about Britney that is so earnest – almost nervous about disappointing people. I feel like her base human emotion is her need to be heard. I think that she does have a lot to say. She changed pop music, and influenced so many of today's artists – including myself. After all these years, people are just now starting to give credit where it's due. Because in hindsight it's like – wow, there hasn't been another popstar to take her place.

I'm sorry, but I just don't feel inspired by popstars these days. Besides like, Rihanna. Even she's been on a journey for the last ten years – I almost feel like she's a new artist, in a way. I don't know what it is, but there's something missing in the pop environment. I guess I'm just so eager to fill a space. But it's totally possible for people to create their own niches, and that's what I'm trying to do.

The most important thing is doing what's true and genuine to you, whatever that may be. And it's cool if that changes over time, too. I really look up to artists like Madonna, David Bowie, Gwen Stefani. Because they're able to transform and change, and shed light on certain sounds bubbling up from the underground. They're tastemakers, and that's what I want to be remembered as one day.

​Lead mage: Daria Kobayashi Ritch for King Kong magazine​​.

Richard S. He is a pop musician and award-winning critic. You can tweet your grievances to @Richaod.​​​