#REST IN POWER SOPHIE PC#

Fame seemed to make her more eager to blow up pop conventions rather than submit to them. But other singles like “Ponyboy” and “Faceshopping” pushed her sound in even more thrashing, delirious directions. You understand less about the social constructs that exist in a certain place, so you take people more at face value, and you’re also taken more at face value, which makes you more able to be yourself.”Īlthough early tours cloaked Sophie’s presence with drag-club-style lip-syncing or foggy stage setups, tracks like 2017’s “ It’s Okay to Cry” began to put her face and unaltered voice front and center, to powerful emotional effect. “I think you feel more liberated in a foreign country. “I think of like that because it’s too perfect to be true,” she told New York magazine in 2017. In 2015, she moved to Los Angeles to better immerse herself in the pop firmament. She licensed a standout early song, “Lemonade,” to McDonald’s for an advertisement, a move that would seem desperate for most rising acts but felt conceptually transgressive from her (she naturally included the track on “Product”).

Sophie enjoyed the play between artifice and authenticity - her 2015 debut album “Product” came packaged as a silicone object that strongly resembled a sex toy. producer Flying Lotus wrote Saturday after her death. “Without a doubt some of the most interesting sounds I’ve heard had come from her,” the L.A. Songs like “Just Like We Never Said Goodbye” and “Bipp” used pitch-warped vocal hooks and hard pivots of synthesizers to play with the idea of a triumphant club moment, but always subverted it. That move was intentional: Sophie’s music was meant to be heard on its own terms, which were often challenging but always snapped a listener to attention. What the music gets over on instead is pure sensation.” In a review of an early show at the Teragram Ballroom, The Times said that “Sophie’s songs can’t rely on the promise of gossip or confession they don’t deepen our understanding of a semi-realistic character we think we know from interviews and social media.

#REST IN POWER SOPHIE PC#

She was at the forefront of a loose movement of “hyperpop” acts, often orbiting around the PC Music artist collective, that treated the margins of noise and club music as if they were Top 40 radio. The music was sui generis - nodding to house music, synth pop and mainstream pop, but often ferociously heavy and rippling with tension. She released her first track as Sophie in 2013. You’ll hear an artist who arrived before everyone else.” If you’re not aware of what she has done then today is the day to listen to all her brilliant work.

“She’s been at the forefront for a long time and we see her influence in every corner of music. “The loss of Sophie is huge,” wrote super-producer Jack Antonoff on Twitter on Saturday. In less than a decade, Sophie grew from a sly, intentionally cryptic project at the edges of noise and dance music into a commercially powerful figure who co-wrote Madonna’s 2015 hit “Bitch I’m Madonna” and earned a Grammy nomination in 2018 for her LP “Oil of Every Pearl’s Un-Insides.” She was a favorite collaborator of like-minded progressive pop acts like Lady Gaga and Charli XCX, and rappers like Vince Staples and Nicki Minaj saw a kindred spirit in her witty, sometimes harsh but exultant productions. Meet Lubalin, an unassuming musician from Montreal who makes stirring mini-music videos out of mundane, random bits of social-media arguments.

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Rest in power sophie