This gifted duo from Norwich were just 17 years old when they released their first album. 2016’s I, Gemini made waves for fearlessly – if not seamlessly – blending prog-grunge with psychedelic synthpop. Expectations for follow-up I’m All Ears are high, but thankfully so is the budget.
Scottish musician SOPHIE is the intersection between underground and mainstream cool – working with everyone from Charli XCX to Madonna (and reportedly charging $10,000–20,000 a track). Despite only co-producing two songs (out of 11), she’s a savvy choice of collaborator.
Rosa Walton and Jenny Hollingworth’s vocals are parodically girlish, and scarily reminiscent of the hyper-feminine aesthetic SOPHIE weaponises in her own music. The pair’s creative bond has been maturing since they met aged four, and girl power permeates throughout.
Pre-release single ‘Hot Pink’ uses angelically angry harmonies to deconstruct the shortcomings of gender norms: ‘I just want anything and everything / Just can’t make it obvious’. SOPHIE dangles sickly-sweet synthwork like a lure, all before a crunching bassline takes the patriarchy in its jaws.
Let’s Eat Grandma’s strong way with melody isn’t fully revealed until mid-album cuts like ‘Snakes & Ladders’, a faithful reimagining of Portishead, and the lovely ‘I Will Be Waiting’.
This is thanks in part to Welsh producer David Wrench, who takes on the bulk of the album and simply gets the band’s elastic sound, deftly stretching and restraining it whenever necessary. Even at its most reserved, as on the chillingly sparse ‘Cool & Collected’ and ‘Ava’, I’m All Ears is unlike anything you’ll hear all year.