Los Angeles-based alt-pop artist Ally Evenson is stepping into her next era with SPEED KILLS, her sophomore album arriving February 20—a project that promises to be as emotionally unfiltered as it is visually immersive.

Following the breakout success of her 2024 debut BLUE SUPER LOVE, Evenson returns with a body of work born out of radical personal change: a major breakup, an embrace of queerness, and a relocation to Los Angeles that reshaped both her identity and her sound.

Described by Evenson herself as “camp, sad, perverse… and very, very angry,” SPEED KILLS doesn’t aim to resolve contradictions—it leans into them.

A Sonic World Built on Chaos and Clarity

Early singles “Lucky Day” and “AFO” offer a sharp entry point into the album’s emotional landscape—balancing distortion-heavy alt-pop textures with Evenson’s signature mix of vulnerability and biting charisma.

The project builds on the DNA of her debut while expanding its scope, pulling inspiration from a lineage of genre-defining voices like Sheryl Crow, Liz Phair, Garbage, Sparklehorse, and The Cardigans.

If BLUE SUPER LOVE introduced Evenson as a compelling new voice, SPEED KILLS positions her as something more deliberate: an artist capable of translating emotional mess into controlled, cinematic chaos.

“Lying in the Sun While Everything Burns”

Evenson describes the album with striking clarity:
“SPEED KILLS feels like lying down in the sun while two people argue above you.”

It’s a fitting metaphor for a record that thrives in tension—between detachment and intensity, humor and heartbreak, stillness and noise. Across the project, emotions don’t arrive neatly packaged; they collide, overlap, and linger.

From Music to Cinema: A Fully Realized Visual World

Beyond the music, SPEED KILLS extends into a fully developed visual universe—one shaped by Evenson’s deep connection to film.

The project will premiere as a cinematic piece in Los Angeles at Brain Dead Studios on February 19, accompanied by a Q&A moderated by Mikael Wood of the Los Angeles Times.

This move signals a clear evolution: Evenson isn’t just releasing songs—she’s world-building, bridging alt-pop songwriting with narrative-driven visuals.

A Rapid Rise in the Alt-Pop Landscape

Evenson’s ascent has been both organic and undeniable. Her debut album earned critical praise, with Pitchfork highlighting her “poison apple-sweet hooks,” while Pigeons & Planes named her one of their “Artists to Watch in 2025.”

Since then, she has continued to build momentum on the road, touring alongside acts like Wallice, daffo, and The Japanese House—solidifying her presence within a new generation of alternative voices.

From Discipline to Freedom

Part of what defines SPEED KILLS is a shift in Evenson’s creative mindset.

“Making music used to be terrifying for me,” she shares. “I think it’s because I went to school for it. Then one day I realized I wasn’t getting graded on it—and I just started having fun.”

That sense of release is palpable across the project: a move away from perfectionism and toward something looser, sharper, and more instinctive.

An Artist Fully Stepping Into Herself

At its core, SPEED KILLS is about transformation—not as a clean break, but as a messy, ongoing process.

Detroit-born and LA-based, Ally Evenson continues to shape songs that meet listeners wherever they are: in heartbreak, in rage, in softness, in confusion. Her music doesn’t offer easy answers—it offers recognition.

With SPEED KILLS, she doesn’t just document change. She embodies it.