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There's nothing ephemeral or vague about her influence on electronic music, though. There was electronic music before Sophie and electronic music after Sophie: She helped define Charli XCX and the hyper-pop sound in general, before going on to work with Staples, Cook, Kim Petras, Arca, Lady Gaga, and FKA Twigs. (On her recent album, Brat, Charli wisely called the late producer "a hero and a human being.") Sophie, released on September 27, reflects that layered legacy. The album was nearly finished when Sophie died from a fall in January 2021; the tracklist was set, and the foundation for the songs was well underway. (Sophie's brother and sister, Benny and Emily Long, completed the album over the past three years.) The final product includes a few previously released recordings, but unlike her first album, in which Sophie frequently edited her own voice, this one features almost exclusively outside voices: There are appearances by Petras, Juliana Huxtable, Nina Kraviz, Liz, Bibi Bourelly, Hannah Diamond, Doss, and more. This frenetic collection isn't always as cohesive as her conceptual debut, but Sophie leaves an indelible mark on everything she touches.
Some girls want to be known, while others prefer to hide. Scottish singer-producer Sophie is for girls who want to hide behind the mixing board while still creating their own magic and Sophie, her posthumous record, attempts to reconcile both of those ideals. Known for the crunchy, old-fashioned production of her powerful songs, Sophie built an intensely private public profile, barely known outside of her stage name before coming out as transgender in 2017. She’s a producer, in charge of her own image and sound, but what she radiates more than anything is a kind of angelic exoticism. Sophie has only released one studio album the critically acclaimed, Grammy-nominated Oil of Every Pearl's Un-Insides (2018) and one mixtape in her lifetime, and both are heavy instrumentals, with some songs featuring a single phrase repeated over and over, almost stretching the limits of language, until the noise and robotic distortion take over. Her early releases, like 2015's "BIPP" and "Lemonade," just hung in the air for a while, with no one really knowing their context or who made them. (In 2021, Vince Staples recalled that some speculated Sophie was just another A.G. Cook project.) The 2017 visual for “It’s Okay to Cry” which marked the first time most fans saw Sophie’s face placed her against an ever-changing backdrop of clouds, rainbows, and a starry night sky, embracing the neither-here-nor-there nature of her presence, while the wickedly fun video for “Faceshopping” from 2018 reveled in the wild manipulations of her face. Harron Walker previously wrote about the “dissociative” element of Sophie’s music, the way it crystallized both presence and absence at the same time, in the same body. Sophie conveyed a more angelic plane, where bodies moved in and out of view under flickering club lights.
Sophie's pop and experimental leanings battle it out on the new album as she tracks through trap, spoken word poetry, dirty hard-core beats and more straight-ahead, glittery pop melodies with sparkling production. Dense lyrics about transhumanism and the nature of the universe set against ethereal synths echo across several tracks, including the Huxtable collaboration "Plunging Asymptote" and the seven-minute "The Dome's Protection" with Kraviz. Big Sister sings about "transparent infinity" and "false mythology" on the steamy standout "Do U Wanna Be Alive?", her attitude expertly matched by Sophie's mechanical, sardonic production. Sophie's crunchy club bangers dominate the album's second half. Tracks like the hard-core "Elegance," featuring Popstar, move from beat to beat; or the repetitive, rhythmic “Berlin Nightmare” with Sophie’s partner, Evita Manji. The dramatic melodies of “One More Time” are broken up by Bourelly’s collaboration “Exhilarate,” with Bourelly’s vocals gliding over a slightly off-beat and somewhat erratic rhythm.
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