LOLO

LØLØ’s journey started long before she became the  fully formed pop rock force we now know today,  gracing the stage with her hard hitting passion and tour de force performance energy. As a child rifling through her eclectic and extensive CD collection including everything from the Wizard of Oz soundtrack, to Hilary Duff, to Green Day, she learned how to play “Good Riddance (Time of Your Life)” and never put the guitar down from that point on. Emerging in 2018, she attracted a rabid fan base with heart-on-her-sleeve lyrics and hard-hitting melodies spiked with a pop rock spirit. She also dropped three EPs, the Sweater Collection EP [2019], overkill EP [2021], and debbie downer EP [2022]. Among various standouts, her cover of “Dancing In The Dark” (Bruce Springsteen)  gathered over 29 million Spotify streams followed by “u turn me on (but u give me depression)” with north of 16 million Spotify streams. Plus, she earned the applause of OnesToWatch, Kerrang!’s Sounds of 2024, Alternative Press, 1883 Magazine, tmrw, PAPER who attested, “Full of all the anger, angst, cynicism and depression that makes a proper pop punk artist, Toronto singer-songwriter LØLØ is well on the rise” and a mention in September 2020 People Magazine "Emerging artists making their mark on the musical landscape". In 2021, she collaborated with pop punk icons Simple Plan on their Amazon Exclusive “I’m Just a Kid”. Moreover, she toured with everyone from Boys Like Girls to New Found Glory and Against The Current, and has performed at Lolapalooza, Sad Summer Festival, and Slam Dunk Festival.

LØLØ’s path to stardom in Hollywood was paved with its fair share of obstacles and jump scares. Since she arrived a few years back, the Toronto-born singer and songwriter has hit like a tornado with tens of millions of streams and widespread critical acclaim. She also just so happened to encounter a myriad of misfits, falling for (genuinely) heartless dudes.

Along the way, she crafted what would become falling for Robots and wishing I was one with producer Mike Robinson. The concept naturally presented itself. Now, she invites everyone into her mind on her 2024 full-length debut LP, falling for robots and wishing I was one [Hopeless Records].

“I feel things way too hard,” she observes. “Maybe it’s a terrible thing for relationships, but it comes in handy for songwriting. Little things that shouldn’t affect me, do. I often find myself wishing I didn’t feel things too deeply. Growing up in the world today can be very complicated. You have to worry about all of these little factors. In a sense, the album really explores what it means to be human these days.”

“I moved to L.A. post-COVID and grew up a lot along the way,” she says. “It felt like everyone I encountered had no emotions or maybe I just had too many emotions and am overly sensitive. That’s where I got the idea for falling for robots and wishing I was one.”

She initially teased the record with “omg,” “faceplant,” “2 of us”, and “hot girls in hell,” the last of which will probably tell you what you need to know of her wry, wistful songwriting style, with each new release building into a sassy, beguiling bigger picture. Her latest release “poser”, which Alternative Press called “an instant breakup anthem”, LØLØ says of the track,

"'Poser' is about someone who really got me good, who really truly made me believe they loved me, when it later became clear to me, they simply couldn't have. Being a girl who enjoys rocking from time to time, I’ve sadly gotten called a poser many times by internet bullies.”

The single “u & the tin man” not only catalyzed the process, but it also represented the album’s emotional apex. Strumming an acoustic guitar, her delivery barely cracks a whisper as she laments, “The tin man and you are exactly the same, except he’s actually looking to fill up that space in his chest.” Strings gently accent the vocals, giving way to one final distortion-boosted catharsis, “If you only had a heart, that’d be nice.”

“Even though it’s the closer, it’s actually the first song I wrote for the project,” she notes. “I was at a dinner speaking about him and heard someone call him “the fucking tin man”. I immediately wrote it down in my phone notes app. A few days later I picked up my guitar and wrote the whole thing on my bed. I ran down to my publisher's studio and cut a demo with just guitar and voice. Normally I would always re-record the vocals later on, and I tried, but I could never match the emotion from that day that I wrote it, so we kept them.”

An old school-style robot sample bleeds into ethereal guitar on “wish I was a robot.” Meanwhile, internal dialogue plays out in the verses, “Sometimes, I think I’m ugly. Other times, I’d love to fuck me.” Cybernetic electric guitar underlines her warbling vocals on the hook, “I wish I was a robot ‘cuz then I wouldn’t care. Could just call a mechanic when I need a repair.”

“I was going through it one day,” she sighs. “I came up with the line, ‘Sometimes living feels disgusting’. I noticed I said ‘Robot’ in ‘tin man’, and everything clicked. Those songs really tie this body of work together.”

A frenetic electronic beat powers up “Kill The Girl” as a manic chorus takes hold punctuated by a groove-laden riff.

“It’s a cool approach to write a song about yourself from an outside perspective,” she goes on. “It’s about loving someone who isn’t quite on the same level of emotion you are. In real life, I wish I didn’t feel so strongly. I want to kill this dumb girl who does. It was the last song I wrote about this one person, and I did kill that girl and grow afterwards,” she smiles.

Ultimately, LØLØ allows everybody to look behind the curtain on falling for robots and wishing I was one as 2024 promises to be the year of LØLØ as she was aptly named in Kerrang!’s Sounds of 2024.

Upon listening, you might find she’s not so different from you…

“I’m just a girl trying the best I can to be human,” she leaves off. “I create music to let out my feelings and to let others know they’re not alone. Whether you’re crying to a song on the record, or jumping around and screaming, just know we’re all in this together.”

BOILER:

LØLØ’s journey started long before she became the  fully formed pop rock force we now know today,  gracing the stage with her hard hitting passion and tour de force performance energy. As a child rifling through her eclectic and extensive CD collection including everything from the Wizard of Oz soundtrack, to Hilary Duff, to Green Day, she learned how to play “Good Riddance (Time of Your Life)” and never put the guitar down from that point on. Emerging in 2018, she attracted a rabid fan base with heart-on-her-sleeve lyrics and hard-hitting melodies spiked with a pop rock spirit. She has dropped three EPs including overkill EP [2021], and debbie downer EP [2022]. Among various standouts, her cover of “Dancing In The Dark” (Bruce Springsteen)  gathered over 29 million Spotify streams followed by “u turn me on (but u give me depression)” with north of 16 million Spotify streams. Plus, she earned the applause of OnesToWatch, Kerrang!’s Sounds of 2024, Alternative Press, 1883 Magazine, tmrw, PAPER who attested, “Full of all the anger, angst, cynicism and depression that makes a proper pop punk artist, Toronto singer-songwriter LØLØ is well on the rise” and a mention in September 2020 People Magazine "Emerging artists making their mark on the musical landscape". In 2021, she collaborated with pop punk icons Simple Plan on their Amazon Exclusive “I’m Just a Kid”. Moreover, she toured with everyone from Boys Like Girls to New Found Glory and Against The Current, and has performed at Lolapalooza, Sad Summer Festival, and Slam Dunk Festival. Along the way, she crafted what would become falling for Robots and wishing I was one with producer Mike Robinson. Now, she invites everyone into her mind on her 2024 full-length debut LP, falling for robots and wishing I was one [Hopeless Records].

“I feel things way too hard,” she observes. “Maybe it’s a terrible thing for relationships, but it comes in handy for songwriting. Little things that shouldn’t affect me, do. I often find myself wishing I didn’t feel things too deeply. Growing up in the world today can be very complicated. You have to worry about all of these little factors. In a sense, the album really explores what it means to be human these days.”