Aloof and sharp-edged, Lylie NN is the new electronic voice that Rome didn't know it deserved. Born to a French mother and an Italian father, she studied performing arts and music, growing up in London from her adolescence until last year. She commands three different languages and displays a single instinct: to transform her music into a polished, piercing, and unstoppable weapon.
She got her start in the eclectic neighborhood of Camden, playing keyboards and a sampler in an all-female band known as the Bang Bang Sisters. Now —as a solo artist— she composes, plays, and sings, primarily in English. Yet, she occasionally slips French into her verses or delivers sharp punctures in Italian. This code-switching is her aesthetic signature, and certainly no mere gimmick.
Her tracks are high-voltage hyperpop that doesn't shy away from crossing over into techno-rap: a kick drum that drives forward relentlessly like a semi-truck at night; deep basslines that gasp and growl like animals; chrome synths, razor-sharp drops, air-shifting glitches, and beat re-entries that could wake the dead.
Vocally, Lylie NN shifts between bold talk-singing, magnetic whispering and raw punk screams —vocal layers chasing and stacking on top of one another, with vocal distortions turned into earworm choruses. Lylie NN doesn't ask for likes. She simply demands to make a lot of noise and to be able to do it whatever she pleases.
Her imagery is cyber-chic and queer. She is ironic to the point of being edgy and at times cynical, and also glamorous without ever pandering to social conventions —all delivered with an alpha-female attitude.
Empowering and uncompromisingly anti-conformist, explicitly outrageous when she thinks it's necessary, Lylie is always elegant in her staging and lethal in her delivery. She observes our image centered society from a looking glass: female friendships or rivalries, altered bodies and fragile men, club rituals and aesthetic aberrations, and ultimately power treated like an outfit to be worn, flaunted, and, when needed, ripped off.
Her tracks blends hyperpop with euro-dance reflections, shades of deconstructed club, hints of Berlin and French techno and dives into UK garage and UK bassline, but it remains firmly centered around the hook: lines made to be sung and danced to, also meant to be listened to at home right before going out, and only if you intend to get wild.
She claims to live in a simulation and, because of this, she generally considers sort of pointless paying her attention to most of the people. According to her, they might just be BOTs or NPCs trying to drag her into plots, subplots and side quests to prevent her from distinguishing what's actually true deserving a higher priority from what isn't real at all, leading only to redundancies and dead ends.
Recently, in May 2026, during a trip to London, Lylie NN was taken into custody and questioned regarding old facts related to her performancing with a previous band of hers, as part of an investigation into the distribution of illicit political content and the disclosure of illicit political slogans.
She was forced to stay in London for a week more, having to postpone her return to Italy until her producers at QUANTO Records had to step in and put pressure on the authorities. Our label management pointed our that Lylie holds both Italian and French citizenship —she's European— and that, if she was not under arrest, there was no reason to further keep from leaving UK a European citizen, stuck in a non-European country. Furthermore, Lylie signed to an Italian music label, so that such a long time in London was putting at risk the release date of her debut album, impacting on our schedule and budget.
In the end, Lylie was allowed to leave and returned to Rome: aside from being questioned, no other repercussions were accounted. (At least for the time being.) Her debut album —"Les Simulations"— was finally released on July 31st, 2026.
Aloof and sharp-edged, Lylie NN is the new electronic voice that Rome didn't know it deserved. Born to a French mother and an Italian father, she studied performing arts and music, growing up in London from her adolescence until last year. She commands three different languages and displays a single instinct: to transform her music into a polished, piercing, and unstoppable weapon.
She got her start in the eclectic neighborhood of Camden, playing keyboards and a sampler in an all-female band known as the Bang Bang Sisters. Now —as a solo artist— she composes, plays, and sings, primarily in English. Yet, she occasionally slips French into her verses or delivers sharp punctures in Italian. This code-switching is her aesthetic signature, and certainly no mere gimmick.
Her tracks are high-voltage hyperpop that doesn't shy away from crossing over into techno-rap: a kick drum that drives forward relentlessly like a semi-truck at night; deep basslines that gasp and growl like animals; chrome synths, razor-sharp drops, air-shifting glitches, and beat re-entries that could wake the dead.
Vocally, Lylie NN shifts between bold talk-singing, magnetic whispering and raw punk screams —vocal layers chasing and stacking on top of one another, with vocal distortions turned into earworm choruses. Lylie NN doesn't ask for likes. She simply demands to make a lot of noise and to be able to do it whatever she pleases.
Her imagery is cyber-chic and queer. She is ironic to the point of being edgy and at times cynical, and also glamorous without ever pandering to social conventions —all delivered with an alpha-female attitude.
Empowering and uncompromisingly anti-conformist, explicitly outrageous when she thinks it's necessary, Lylie is always elegant in her staging and lethal in her delivery. She observes our image centered society from a looking glass: female friendships or rivalries, altered bodies and fragile men, club rituals and aesthetic aberrations, and ultimately power treated like an outfit to be worn, flaunted, and, when needed, ripped off.
Her tracks blends hyperpop with euro-dance reflections, shades of deconstructed club, hints of Berlin and French techno and dives into UK garage and UK bassline, but it remains firmly centered around the hook: lines made to be sung and danced to, also meant to be listened to at home right before going out, and only if you intend to get wild.
She claims to live in a simulation and, because of this, she generally considers sort of pointless paying her attention to most of the people. According to her, they might just be BOTs or NPCs trying to drag her into plots, subplots and side quests to prevent her from distinguishing what's actually true deserving a higher priority from what isn't real at all, leading only to redundancies and dead ends.
Recently, in May 2026, during a trip to London, Lylie NN was taken into custody and questioned regarding old facts related to her performancing with a previous band of hers, as part of an investigation into the distribution of illicit political content and the disclosure of illicit political slogans.
She was forced to stay in London for a week more, having to postpone her return to Italy until her producers at QUANTO Records had to step in and put pressure on the authorities. Our label management pointed our that Lylie holds both Italian and French citizenship —she's European— and that, if she was not under arrest, there was no reason to further keep from leaving UK a European citizen, stuck in a non-European country. Furthermore, Lylie signed to an Italian music label, so that such a long time in London was putting at risk the release date of her debut album, impacting on our schedule and budget.
In the end, Lylie was allowed to leave and returned to Rome: aside from being questioned, no other repercussions were accounted. (At least for the time being.) Her debut album —"Les Simulations"— was finally released on July 31st, 2026.