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ItвЂ™s extraordinary high concept pop, and the message is that you can be anything you want.

The chorus (вЂњ Immaterial girls, immaterial boysвЂќ) promotes the joy of being divorced entirely from any physical form of self. These moments of disembodied fantasy come into focus on the albumвЂ™s thematic core, Immaterial, a rallying cry against corporeal limitations.

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At points itвЂ™s so full of physicality that it feels like a living, breathing thing, but itвЂ™s punctuated by icy soundscapes which take a deep stare into the void ( Is it Cold in the Water, Pretending), plunging us into a soft oblivion. Storming closer Whole New World: Pretend World even sneaks an Aladdin reference into its pitch-black industrial clangs. It ricochets between heavenly fantasy worlds ( ItвЂ™s Okay to Cry) and dungeon-dwelling kink anthems ( Ponyboy). It smuggles avant-garde sound design into pop sensibility and vice versa, often in extremes. And OIL OFвЂ¦ does exist in its own dimension. On the albumвЂ™s cover, SOPHIE is a part-plasticine goddess marooned in some alternative universe. As Chal Ravens put it in our May cover story with SOPHIE: вЂњIn SOPHIEвЂ™s cyborg universe, fake is no longer a category.вЂќ Across the album, SOPHIE plays with concepts of real and fake, organic and synthetic, then pummels them until they are mush. In June 2018, her vision was crystalised with the release of her debut album OIL OF EVERY PEARLвЂ™S UN-INSIDES. In October 2017, she became properly visible for the first time in the self-directed video for ItвЂ™s Okay to Cry, a tender ballad about self-acceptance. So itвЂ™s fitting this was the year SOPHIE became an avant-pop cult leader.

Slowly, we are all catching up to her vision. SOPHIEвЂ™s sonic universe began to expand, and it has become clear that her project transcends the limits of a postmodern prank. In the pop world, she was strikingly avant-garde, going on to lend her bombastic sound design to Madonna and McDonalds. In the electronic underground she came up through, her ecstatic sound was unapologetically poppy.

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Early on, this raised questions about her gender identity, while some listeners took aim at the level of sincerity in her work вЂ“ were SOPHIE and her PC Music affiliates really serious? This wasnвЂ™t real music? Who was the butt of the joke?Д«ut SOPHIEвЂ™s future shock was unflinching. A faceless producer with little biographical information and visuals depicting suspended plastics. While her music enhanced the visceral thrills of the physical world, SOPHIE used to be somewhat intangible. SOPHIEвЂ™s world is playfully artificial, and the enigmatic producer has always existed in a slippery realm between reality and fantasy. Synthetic sounds mimic the squeak and snap of latex, the whip of a ponytail, the euphoric rush of a fizzy drink. After breaking through in 2013 with the arrival of Bipp on Glaswegian label Numbers, early releases toyed with dualisms: ideas of human and machine, organic and plastic. Her music is disorienting, futuristic, a little surreal, and ultimately indicative of a paradigm shift. ItвЂ™s difficult to think of a musician who reflects this mood more than SOPHIE, who harnesses the powers of the uncanny for good.

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Sophia the robot continued to creep us all out as the first android to become a legal citizen, who looks very close to, but not exactly like, a human. The first AI-generated art to be sold at an auction house was вЂsignedвЂ™ in the bottom right corner with the algorithm used to produce it. A deep dive into uncanny valley, we saw CGI Instagram influencer Lil Miquela reveal herself as virtual in a postmodern PR stunt. SOPHIE OIL OF EVERY PEARL'S UN-INSIDES TransgressiveДў018 was the year of the winkingly artificial. Read our issue 71 cover story with Dean Blunt and Gaika here. Maybe this is why he always cuts through the noise of endless press releases and sponsored Facebook posts. BluntвЂ™s disregard for commonsensical strategy suggests some kind of purity in his desire to create music. With stripped-back guitar and string arrangements, there was a nakedness to the vocals of Blunt, Rocky, the mysterious newcomer Poison Anna and Tyson McVey вЂ“ sister of Mabel and daughter of Neneh Cherry. Soul on Fire was the release for which Blunt stepped out to front of stage. In 2018 the Hackney musician uploaded (then quickly removed) the three track Bookey EP, released a joint LP with Delroy Edwards, scored production credits on ASAP RockyвЂ™s album Testing and curated a compilation of unnamed bands and singers.

ItвЂ™s exciting to follow the shadowy movements of Dean Blunt, whose most intriguing work is often tossed out in temporary WeTransfer and MediaFire links and cherished by his fanbase like digital ephemera.

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