Often the word âgeniusâ can be used a little too sparingly â but in the case of SOPHIE itâs the only word that applies. Since releasing debut track âNothing More To Sayâ in 2013, the Glasgow-born producer has been bending sound into strange and beautiful shapes ever since, and influencing some of popâs biggest hitters in the process. Itâs safe to say that, without SOPHIE, pop music might sound completely different and altogether less interesting.
READ MORE: SOPHIE, your music helped me to find a kind of sanctuary. Thank you
SOPHIE, âBippâ (2013)
If thereâs one gateway moment that perfectly encapsulates SOPHIEâs bright, garish and thoroughly alien production style, it has to be âBippâ. Upon its release in 2013, most peopleâs immediate reaction was a variation of, âWhat in fresh fuck is this!?â It sounded beamed in from a distant future light-years away, and truly sounded like nothing else out there. Underpinned by a rubbery, amorphous synth-splutter, SOPHIE took crucial elements of pop â brightness, polish, euphoria â and moulded them into an alien dance track, dangling the promise of an enormous drop, but never going there. Instead, it puts forward an insistent message of hope. In pitched-up, helium vocals, SOPHIEâs former Motherland bandmate Marcella Dvsi puts forward a message of hope on the infectious lead hook: âI can make you feel better, if you let meâ.Â
SOPHIE, âLemonadeâ (2013)
Though itâs difficult to pin SOPHIEâs music down to a single genre, the artist once had a crack in an interview with Billboard: âadvertisingâ. When âLemonadeâ â SOPHIEâs bizarre and effervescent third single â ended up featured on a McDonalds advert, critics skeptically wondered if the producerâs whole faceless schtick was simply an attempt to get filthy rich. In hindsight, it was more sophisticated than that. Listen to the gurgling, gasping introduction to âLemonadeâ and it certainly feels like a nod to Suzanne Ciani, the US electronic music pioneer who created Coca-Colaâs ubiquitous âPop & Pourâ sound effect and was consequently able to self-fund her own experimental works. As it turns out, SOPHIE possessed a similar skill to Ciani â the ability to magnify an everyday sound or object, and zone in on its basic feral essence. âLemonadeâ somehow sounds like downing an ice-cold glass of the stuff â itâs that vivid.
QT, âHey QTâ (2014)
Thanks to a shared knack for playing on pop music tropes, advertising and consumerism, SOPHIE quickly became associated with London-based collective PC Music, and collaborated with them frequently. Founded by A.G Cook in 2013, the labelâs goal was simple â instead of wasting time on traditional marketing campaigns and physical music releases, PC Music would use the limitless and low-cost possibilities offered by the internet. This even extended to inventing virtual pop stars â like QT.
The creation of A.G. Cook and American performance artist Hayden Frances Dunham, QT existed to market a fictional drink similar to Red Bull and called DrinkQT (later, PC Music would later manufacture cans of DrinkQT and hand it out at a Red Bull Academy showcase). A fictional one-hit wonder, QT released just one song. Produced by SOPHIE, âHey QTâ sounds like a parody of vacuous pop, but somehow feels loaded with sadness and meaning â lyrically, itâs quite beautiful and speaks to immense yearning. And no doubt that tension is down to SOPHIEâs masterful involvement.
SOPHIE, âSomebody Like You??â (2014)
Though SOPHIEâs career was cut cruelly short, the artist packed a great deal into just eight years â and beyond mixtape âProductâ and debut proper âOil of Every Pearlâs Un-Insidesâ SOPHIE was also responsible for a gleaming haul of unreleased tracks. A treasure-packed Rinse FM mix from 2014 featured four of them: âKitty Catâ, âGood Good Thing Going Onâ, âThe Way I Amâ and âSomebody Like You??â. Itâs well worth going back and giving each one a spin, but âSomebody Like You??â is possibly the best entry point. Essentially a turbo-charged, sherbet-fuelled love song, itâs a song that celebrates infatuation and newness: âlife can be a fantasy / And you prove that it’s true / Every time that we’re togetherâ. A continuation of what SOPHIE achieved with âHey QTâ â OTT pop loaded with a sincerity that catches you off guard â it also feels like the logical precursor to SOPHIEâs âJust Like We Never Said Goodbyeâ and Charli XCX collab âGirls Night Outâ
Madonna, ‘Bitch Iâm Madonna’ ft. Nicki Minaj’ (2015)
Often, thereâs a misconception that music must be challenging, emotionally complex and hard-to-access in order to be worthy of greatness â a fairly boring and distinctly joyless way of measuring quality. Meanwhile, SOPHIE often played with ideas like brightness, gloss and polish â words often used as shorthand for lowbrow inauthenticity â and pushed them to the extreme. âI think all pop music should be about who can make the loudest, brightest thing,â the artist once told Rolling Stone. âThat, to me, is an interesting challenge, musically and artistically⊠just as valid as who can be the most raw emotionally.â
And all these ideas come to fruition on 2015âs âBitch Iâm Madonnaâ â one of SOPHIEâs earliest collaborations with the pop big-leagues. Appearing on Madonnaâs 2015 album âRebel Heartâ, the producer succeeded in making a star long associated with reinvention sound fresh all over again â the tenacious and synth-laden track, which also features Nicki Minaj, is both the strangest and most interesting track from that particular era of Madge’s career.
Charli XCX, âVroom Vroomâ (2015)
Before she revved up the engines of âVroom Vroomâ, Charli XCX was experimenting with different sounds and hadnât yet found her feet â her debut album âTrue Romanceâ fed off moody, â80s synth-pop, while 2015âs âSuckerâ flirted with French yĂ©-yĂ© and punk-pop. They were solid enough as records â particularly the latter â but when Charli XCX met SOPHIE, she finally seemed to find herself as an artist. Together, they made the âVroom Vroomâ EP â and the gloriously silly title-track is the moment that turned Charli into a hyper-pop icon. A highly polarising, heavyweight slab of avant-pop incorporating piercing mechanical squeaks and guttural engine sputters, it felt completely out of step with the increasingly predictable artists dominating the charts. Six years on, the go-hard-or-go-home maximalist approach of âVroom Vroomâ is an obvious influence on some of popâs brightest new faces, from Bree Runway and Shygirl to 100 Gecs and Ashnikko.
Charli XCX and SOPHIE, âTaxiâ (2016)
Most of the time itâs not a hugely positive thing when legions of audience members start yelling âtaxiâ in the middle of a gig â unless youâre Charli XCX or SOPHIE, it probably means youâre being heckled. An unreleased fan favourite, first performed by Charli at Exchange LA in 2016, fans’ tenacious requests to âplay Taxi!â live plagued both artists ever since, and eventually evolved into a kind of niche pop meme. Even if it never sees the light of day, âTaxiâ’s rare surprise airings (and repeated videos of SOPHIE wittily shutting down show requests) make the journey more than worthwhile.
SOPHIE, ‘Burn Rubber (ft. Sarah Bonito)’ (2016)
Another unreleased gem, âBurn Rubberâ is less of a rarity than âTaxiâ â SOPHIE indulged fans by playing it on quite a few occasions, usually at shows with Charli XCX around 2016 onwards. Squealing percussively like a tyre screeching across hot tarmac, the track features Sarah Bonito of Kero Kero Bonito on lead vocals. Lyrically, it explores the seductive appeal of a life of crime â dreaming of robbing banks, chucking 20,000 pencils in the bin and wearing black leather gloves â before delivering the delicious putdown: âPeople say I’m drab / I don’t care, I burn rubber / Please throw some water on yourself, I burn rubberâ.
SOPHIE, ‘Itâs Okay To Cry’ (2017)
Though SOPHIE has always explored queer themes and gender â the waterslide space-bacon on the front of âBippâ borrows its colour scheme from the trans flag â the artist deliberately stayed faceless until 2017 and declined to elaborate on gender identity in interviews. This led some people to cynically speculate that the project existed to satirise women â until 2017, when SOPHIE released âItâs Okay To Cryâ. The song itself speaks of a pure and soaring expression of identity, and the relief that can bring: âwe’ve all got a dark place,â SOPHIE sings, âmaybe if we shine some light there, it won’t be so hardâ.
As well as releasing the first track from debut album âOil of Every Pearl’s Un-Insidesâ SOPHIE came out as trans. And though this does not define SOPHIE as an artist, itâs certainly true that the producerâs music expresses something very important â in life, queer people forge our own path, undefined by what heteronormative and cisnormative society would prefer.
SOPHIE, âPonyboyâ (2017)
It says a lot that SOPHIE chose to release the visceral âPonyboyâ directly after the intensely emotional âItâs Okay To Cryâ â together, these two songs show the two extremes of âOil of Every Pearlâs Un-Insidesâ. As the producer explained in an interview with V, the song is inspired by a Detroit-based group of Nitro car souper-uppers who called themselves Pony Boys. âIt’s a playful song, but it’s a bit hard. It’s bodily and sexual,â SOPHIE said. âIt also plays a bit with characters in the same way that you might do in certain sexual dynamics. I wanted to give it that feeling to people.â And propelled by juddering bass, robot elephants trumpeting, android seal yelps and pitched-up vocals from singer Cecile Believe, thereâs something both playful and unsettling about it.
Vince Staples, Yeah Right’, (2017)
On Vince Staplesâ experimental second album âBig Fish Theoryâ contrast was king, as the rapper collided dark subject matter with bright, high tempo beats inspired by an avant blend of rave, Detroit tempo and house. This tension summers at the heart of one of the recordâs stand-out moments, âYeah Rightâ, which features Kendrick Lamar and production from Flume and SOPHIE. Atop harsh, dissonant bubble-gum trap, the two rappers question if artists’ boasts of wealth, fame and excess match up to the reality behind closed doors. And meanwhile, SOPHIEâs production goes in hard â the ideal match.
Letâs Eat Grandma, âHot Pinkâ (2018)
From early on, Letâs Eat Grandma took inspiration from fantasy-scapes and twisted fairytales â and attempted to mould this with infectious pop on their slightly-too-sludgy debut âI, Geminiâ. It was certainly a weird record (âSax and The Cityâ honks along like Carrie Bradshaw lumbering down 5th in a pair of broken Manolo Blahniks) but sometimes this strangeness came at the price of impenetrability. Cue SOPHIE, who produced the duoâs 2016 comeback single âHot Pinkâ. This resulted in a dramatic shift in sound, though SOPHIE did not not alter or mess with Letâs Eat Grandmaâs core creativity. Instead, by making every single aspect of the band sound hyper-focused, over-saturated and larger than life, the producer brought their inherent weirdness into clearer, more immediate focus.
SOPHIE, âImmaterialâ (2018)
Itâs incredibly difficult to distill everything that SOPHIE embodied down into a single moment, âImmaterialâ comes close with one potently simple lyric: âI can be anything I wantâ. Whether the artist explored this idea through early faceless anonymity, or amorphous dance songs that sang of transcendence later on, SOPHIEâs music often imagines a world of limitless possibility â broken free from the imposing pressures of cisnormativity and heteronormativity. And on âImmaterialâ SOPHIE riffs on Madonnaâs âMaterial Girlâ, and puts forward life as a blank canvas to be painted on at will. âWithout my legs or my hair, without my genes or my blood / With no name and with no type of story / Where do I live? Tell me, where do I exist?â sings Cecile Believe.
SOPHIE â âWhole New World/Pretend Worldâ (2018)
Closing SOPHIEâs ‘Oil of Every Pearl’s Un-Insides’, âWhole New World/Pretend Worldâ is a brutal yet hopeful juggernaut of a track that welcomes in a utopian future founded on deep connection and being seen clearly. âI looked into your eyes,â sings Cecile Believe, playing upon the melodies of classic noughties pop, âI thought that I could see a whole new worldâ. Jarring realness against artificiality, it sounds like a battlecry delivered by a mechanical swamp beast.
Shygirl, ‘SLIME’ (2020)
Released last year, Shygirlâs debut EP âALIASâ pulls off the feat of being both gleefully horny and hugely menacing â and its standout âSLIMEâ was co-produced by SOPHIE. Influenced heavily by trap, UK grime and ’00s R&B, the production sounds enormous â and, typically, the gloomy, inky murk hits in clean isolated shards. âBad bitches always have to keep their hands wet, we’re too slick,â says Shygirl, with half-mumbled spoken delivery, âI like to glide, figure skate on a bitch.â It’s filthy brilliance â and look out for SOPHIE in the lyric video alongside the likes of designer Mowalola and musicians Arca and Ms Carrie Stack.
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