Long before 24-year-old Danielle Balbuena signed onto Kanye West’s GOOD Music label and Def Jam, she was culling an elusive musical identity. The artist now known as 070 Shake anchored her image in poetry that ruminated on mortality — and the mere fact of human existence.

But as she's contemplated the existential, 070 Shake has steadily ascended the stratosphere. Shake first released far-out alternative rap songs on Soundcloud before becoming an inaugural member of the 070 collective in 2016 (her moniker is an allusion to the zip code of her hometown North Bergen, New Jersey), and stepped further into the spotlight on 2018 via a feature on West's "Ghost Town." Her well-received 2020 debut, Modus Vivendi, set the stage for You Can’t Kill Me, a steep dramatization of emotional adversity and an exploration of the life cycle that so fascinated the rapper in her youth.

Throughout You Can't Kill Me's 14 tracks, 070 Shake transfixes listeners with deep-seated emotions. Shake retraces her human fragility via electropop on opening track, "Web," articulating her discombobulated feelings for a lover and how she numbs herself to let go of the people she hurts. On lead single "Skin And Bones," 070 Shake takes on synthwave while "Invited" battles heartbreaking conflicts through the thumping, repetitive steel drumming.

In a handful of cathartic and introspective tracks, Shake references life's uncertainties and her abysmal devotion for others. The techno-thrilling "History" delineates 070 Shake’s troubled romantic past, while "Wine & Spirits" is a jolted acoustic elegy that talks of pre-meditated suicide and a need for balance. In addition to the heavy themes it reckons with, Shake's sophomore effort is an ode to the sounds of the '80s and her wide-ranging tastes.

"I can open my arms wide and reach far," 070 Shake tells GRAMMY.com. "It's a limitless world in music, especially being someone that grew up on hip hop and then now, falling in love with alternative music — Beach House and Dream Pop. It made me realize that I can be all of the things that I love."

The offbeat artist is aurally infatuated by cinematic and visual narratives, embedding into her music the tantalizing drama, mystery, and suspense that would be at home in a sci-fi film or bewitching gothic painting. "Films and foreign art are a big part of my music process," Shake says. "Artists like David Lynch and Francis Bacon have inspired me a lot for this album."

070 Shake caught up with GRAMMY.com during the final leg of her North American tour, which  concludes with three sold out performances in Los Angeles this week. She discussed the importance of maintaining a sense of ambiguity while battling with the modern world of social media exposure, falling in love with Kehlani during the making of You Can’t Kill Me, and working with Canadian producer, Dave Hamelin.

How does visual art invigorate your creative process? 

I have always cared so much about visual art. You can see that through my album covers and music videos. I worked with an Italian painter to create the vision behind this album cover. One of the inspirations behind this album was definitely Francis Bacon. His art and personal experiences that I've had in relationships I would say help me create visual impact.

I was watching a lot of French cinema when I created You Can’t Kill Me. I got really into French culture. I think real life experiences and the physical world have inspired me a lot and how the ways visual artists perceive the world. 

Are any artists of different mediums that you really follow closely? 

Yes, I love David Lynch. His movie, Blue Velvet actually inspired the song "Blue Velvet" off this album. Films are a big part of my process, that's my No. 1 where I get my inspiration.

What were some of the muses behind You Can’t Kill Me?

I would say I'm very into the concept of death, I think it's fascinating to me. I'm not excited to die or anything [and] I obviously appreciate life, but I think I don’t have this fear of death. When a human doesn't fear death you kind of see it from a different perspective. It becomes more beautiful and the unknown always tends to scare us.

I'm interested in the concept that all of us have that one thing in common. Every single person on Earth is going to die. People can either perceive death as the end or the beginning.

Your music focuses on human identity, emotion and the poetry of love. How does existentialism, autonomy and perseverance inform the the development of You Can’t Kill Me?

Why not go deeper into these concepts? I think people always run away from the inevitable, so I like to go deep into those concepts, because it's something that everyone will experience.

Speaking on this matter makes my music live longer. I think worldly things only stay here for the amount of time that you live.

What was the early conversation around the turbulent, yet loving video for "Skin and Bones?"

The video was directed by Noah Lee and I really wanted to see what we both could capture together. The video relates to the different human experiences of love and just being and loving somebody on this physical plane.

I know you fell in love over the pandemic and have found unity and harmony with your artistic life partner, Kehlani. How was producing an album with them by your side?

She's such a supportive person to me and she's very, very genuine. Honestly, it is just beautiful to have that genuine relationship with somebody. Just them wanting the best for you and being inspired by you and you know, always asking questions.

I think she is motivating to me, it's almost like always having somebody on your team that continues to pick you up when you're down.

You're fairly private on social media and rarely share your life. You've spoken about going off the grid in the past; would you dream about going back to a time where an artist’s art truly and only spoke for itself?

I’m stuck in this time, so I have to go with it, and I have to play the game, but that is my ideal situation as an artist is to not have to use social media. I think the reason why I'm in this time is to challenge myself, you know?

People aren't outside as much as they used to be. Every time new technology comes out more people stay inside. To really connect with the world you need to stay outside and experience it.

Where does You Can’t Kill Me land in terms of the metamorphic cycle that tends to come with the nature of being an artist?

My artistry reflects my growth, for sure. I am just being myself and the audience is watching me grow. Not that any album is better than the other, it's just a different version of myself. You could like me at my lowest but I'm going to continue to grow and it's not going to be better or worse, it's just growth.

How Tate McRae Turned A "Full Identity Crisis" Into Her Debut Album, 'I Used To Think I Could Fly'