SOPHIE is pop music’s dark reflection

Those who possess a cursory knowledge of what goes on in American pop and electronic scenes might’ve heard Sophie’s names in whispers. The artist and producer, though known to be a recluse, has kind of been stirring shit up since the early 2010’s. She was affiliated with PC Music, a record label and art collective known for pushing a self-conscious, satirically artificial brand of pop. In 2015, she collaborated with Charlie XCX and released her debut album “Product,” a chaotically energetic full-length that would sound most at home in a post-apocalyptic underground rave.

But in late 2017, Sophie — who intentionally kept on the low key, and disguised her voiced with extreme pitching and warping — released her single It’s Okay To Cry. The music video shows Sophie’s real face, real voice, and sort of doubled as the artist’s coming-out as a transgender woman. The song itself though is a sparkling, empowering anthem of self-acceptance with a little kitsch mixed in.



That brings us to Sophie’s second album “Oil of Every Pearl’s Un-Insides,” an album that does a good job of introducing Sophie as an songwriter coming into her own, and an artist who operated and thrived in the shadowy fringes of pop and electronic music. “Oil of Every Pearl’s Un-Insides” is heavy, jarring, both dissecting and embracing the artificial, synthetic trappings of pop. Another single from the album, Faceshopping, is nightmarish commentary on the beauty industry, a dark reflection of any pop song that’s ever grieved about putting makeup on. If this woman wasn’t in your radar before, considering her a sharp, distorted blip in the darkness, a sign of life.

You can listen to ‘Oil of Every Pearl’s Un-Insides’ here.

#gender #music #self

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