Sophie Xeon, better known as Sophie, died in Athens, Greece on Jan. 30 following an accidental fall. Hailed as “one of the most intriguing new presences in experimental pop," the Grammy-nominated producer was a true visionary.
The impact of Sophie’s work cannot be understated. At only 34 years old, the artist had worked with some of the largest acts in the industry, including Nicki Minaj, Vince Staples and Madonna. Moreover, many acclaimed up-and-coming artists in pop likely wouldn’t have their careers if not for Sophie’s work. For example, Charli XCX’s 2016 rebrand from a bubblegum pop princess to the reigning queen of experimental pop wouldn’t have been possible without Sophie's production work on "Vroom Vroom EP" (2016). Additionally, Laura Les of musical duo 100 Gecs cited Sophie as an inspiration for her work, saying “It’s impossible to overstate the influence [Sophie] had on me and countless others.”
Beyond influencing individual artists, Sophie and collaborator A. G. Cook ushered in an entirely new era of pop: hyperpop. The genre that Sophie helped spawn is an over-the-top mix of EDM and conventional pop marked by cluttered sounds, heavy synths and comically-excessive autotune. Sophie’s early work helped set the foundation for hyperpop, notably with the artist’s compilation album, “Product” (2015). For this project, the artist released eight songs between 2013 and 2015, each with a computer-generated image of a slide serving as the cover art. The songs blur the line between noise and music, between artificial and real. Listeners can make out sounds that appear to be samples — pots and pans banging, liquid pouring and even pigs squealing. What makes it so audacious is the fact that Sophie never used samples when creating this album; all sounds used on the album were created completely by Sophie. The artificiality of both Sophie’s production methods and the resulting sound formed the basis of this genre.
In 2018, Sophie followed "Product" with the critically-revered studio debut “Oil of Every Pearl’s Un-Insides." As a whole, the album builds upon and exceeds its predecessor. The album garnered a Grammy nomination for Best Dance/Electronic Album. The release of the album’s lead single, “It’s Okay to Cry,” marked Sophie’s public debut; previously, Sophie had remained anonymous, using other’s vocals on tracks. In October 2017, Sophie dropped a music video in which the artist posed from the neck up in front of a green screen depicting images of the sky. Sophie’s identity — more specifically, gender identity — had long been speculated. In this music video, Sophie was made known on the producer’s own terms. Later confirmed in aninterview with Paper magazine, this video alluded to the fact that Sophie was a transgender woman. Other tracks in "Oil of Every Pearls Un-Sides" thematically allude to self-presentation and identity; “Faceshopping," a track that oscillates between harsh industrial beats and bubbly vocals, has been described by fans as “unapologetically trans." On “Immaterial," the vocalist sings “Immaterial girls, immaterial boys/I can be anything I want," which has also been celebrated as an expression of “trans euphoria.”
Sophie’s lyricism and production skill shine in tracks like “Immaterial,” where the lyrics declare “I could be anything I want.../I can’t be held down."Sophie’s revelrous lyrics feel especially heavy following the producer’s death. The producer had an almost other-worldly quality that felt more imaginative and bold than the world was capable of holding.
Sophie made an immeasurable impact on both music and the queer community. While the death of the producer marks a devastating loss, there is some solace in the fact that Sophie’s presence will exist for a long time. So much of current pop has been fundamentally shaped and inspired by the futuristic, bold sound that Sophiehelped spawn so that the artist’s impact will be felt for years to come.
The following fifteen songs do not even scratch the surface of Sophie's brilliant work and production, but they offer even the most ardent fan a well-rounded exploration of the artist’s impact.
“Lemonade" (2015): this bubbly track was just as striking in 2014 as it is today. SOPHIE's production fizzles and whistles in our ears, unlike anything we’ve ever heard.
“Is It Cold in the Water?" (2018): an entrancing track that flashes like strobe lights, almost hypnotically swelling around its angelic vocals.
“Whole New World (Sophie and Doss Remix)” (2019): what’s reminiscent of xylophone bars quickly becomes a sweat-soaked, head-banging, heart-pounding rave.
“Unsil” (2021): Sophie’s most recent release is a rambunctious track with an incredible tempo and energy. It sounds like a master at work, with nothing to prove except that anything touched turns to gold.
“Vyzee” (2015): this earlier work gurgles and twists, encouraging us to “shake it up and make it fizz” (but only if that’s what we want to do).
“Vroom Vroom” (2016): the Charli XCX song is perhaps one of the most important in recent history — it’s not an exaggeration to say that SOPHIE's delicious production changed what pop could sound like.
“It’s Okay to Cry” (2018): perhaps the artist’s most important work and music video. It’s referred to as Sophie’s “first proper public appearance,” and its intimacy and focus are unmatched.
“Bipp” (2015): the slick and oily “Bipp” features earworm lyrics, opening Sophie’s “Product” with feverish excitement.
“Ponyboy” (2018): not much can be written about this track in a college newspaper, but it whips our backs and puts us on a leash.
“Girls Night Out” (2018): another Charli XCX banger that zips and shines like a club-ready anthem. “No boys, no boys.”
“Immaterial” (2018): pure euphoria. This vibrant staple from “Oil of Every Pearl’s Un-Insides” bounces with energy. Ears are filled with uplifting lyrics, feet are jumping on the dancefloor, and smiles are wide all night.
“Infatuation (Lichtbogen Dreamin’ Remix)” (2019): a more house-inspired remix. Sophie slowly builds the track’s ecstatic and rhythmic production.
“Hard” (2015): squeaky and squelchy, with bright spots and rumbling darkness. “Hard” is a cacophony of almost palpable sounds.
“Whole New World/Pretend World” (2018): the final track from Sophie's debut studio album slams and shakes, its altered vocals and sirens practically surrounding us.
“Lipgloss (featuring Cupcakke)” (2017): the zany Charli XCX and Cupcakke duet shows just how versatile Sophie was. The artist’s ability to produce was genre-defying.
