The final works of the hyperpop producer have been completed by her family - their effort is admirable, but it remains a confounding listen
The great tragedy of the hyperpop producer Sophie was that it took her death in 2021 for many music fans to become aware of her avant-garde electronica. Her fatal fall from a rooftop in Athens at the age of 34 was met with an outpouring by friends and admirers includingTo many beyond her immediate circle, that chorus of grief was the entry point to her glitchy, hectic techno.
But these highs are offset by experimental interludes that feel as if they belong to a different, much less accessible record. The sinister spoken-word piece “The Dome’s Protection”, with Russian producer Nina Kraviz, serves as an early dystopian sign-post. It starts with a robotic voice repeating “unpredictable reality” over aesque shiver of synths and turns steadily bleaker.
Her family deserves immense credit for completing the album. For existing fans, the record is an opportunity to say farewell to a groundbreaking artist. But for newcomers who only discovered her after the fact,is a confounding listen – catchy one moment, unsettling and jarring the next. Despite the best intentions of all involved, it makes for an uneven representation of a voice so cruelly taken before her time.
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