SOPHIE - OIL OF EVERY PEARL'S UN-INSIDES

SOPHIE - OIL OF EVERY PEARL'S UN-INSIDES (2018)

Genre: Art Pop, Avant-Pop, Bubblegum Bass, Electronic, Post-Industrial, Ambient

After their well-received compilation album "Product" in 2015, there was substantial hype for this DJ's true commercial album debut. For the most part, they delivered. As a reminder, I do not intend for this to be a really in-depth and complex review. I'm just sharing my quick personal thoughts on the album. As for any album review I do, I try to be objective without letting any personal bias get too much in the way of the final grade.

It's hard to pinpoint exactly what's so interesting about this record. I admire some intricate experimentation in this day and age, and this album goes beyond that, capturing the essence of avant-Garde and electronic music into one carefully constructed record. And indeed, while the album does lay down some wonderful and weird compositions, there could have been a better flow in regards to its presentation. 

 The album starts off with somewhat of an oddity among the rest of the track listing. It's Ok To Cry lends itself to instances of traditional modern pop ballads, with not many indications of the sonic experimentation that awaits one's ears later on. It's certainly pretty, but I tend to displace it in my mind among the rest of the more imaginable songs. As hypocritical as I may sound, the following two songs, Ponyboy and Faceshopping, as interesting as they are, sound a bit too similar to each other to warrant much creativity points.

Probably the most haunting track on here, Pretending, is an instrumental that plays out more like some eerie background ambience effects for a horror film, which, as intense and sonically interesting as it is, may overstay its welcome just a bit, at nearly 6 minutes. And that's not the only instance of a track that's may be too long for its own good. The closing track Whole New World/Pretend World is an avant-garde fever dream, which at 9 minutes, is borderline insanity for comforts sake. To be fair though, there seems to be an overwhelming sense of dread that illuminates most of this record, and I can appreciate that as an aesthetic choice. 

The most cheerful track, Immaterial, sometimes sounds like it could fit right into a Kero Kero Bonito project, with it's strangely up-beat, bubblegum like presentation. It's certainly the only song I could imagine being danced to on this record. That said, while much of this album approaches borderline noise music, there are some interesting ideas that balance this out for the most part. This is definitely not a traditional pop album, and while I do believe it would have benefitted from some better pacing, it's still great for anyone that enjoys moody experimentation and is looking for a creative electronic album.

A-

Favorite Tracks: It's Okay to Cry, Faceshopping, Infatuation, Not Okay, Pretending, Immaterial

Least Favorite Track: Is It Cold In The Water?