Amidst the intricate layers and gentle production of this lively and soulful six-track EP, the San Bernardino artist exudes charm and joy. When Moses Sumney uses a voice close to his speaking tone on “Hey Girl,” it feels affirming. He fully embraces his unique identity and honors his artistic predecessors—particularly Prince, who voiced similar sentiments. Then comes the unexpected declaration of being an amoeba. Sumney, whose parents hail from Ghana, sings over vibrant, quirky tracks that blend contemporary R&B with elements of rock and gospel; you can easily imagine him refining his vocal runs at home before a church service. The EP, Sophcore, serves as a showcase of his impressive vocal range and hints at what listeners can expect from an upcoming full-length album. It’s a tantalizing preview of more to come, teasing listeners with its rich textures and innovative sounds. The playful nature of the EP combined with its soulful depth makes it a compelling listen, inviting the audience into Sumney’s unique musical world.
Four years ago, on his groundbreaking album grae, Sumney conveyed the desires of a complex soul who reveled in being neither one thing nor another. That album’s collaboration with industrial rock band Yvette viewed masculinity as a territory worth exploring. Mastering such dynamic shifts requires a self-assured sense of identity that avoids arrogance yet remains confident. Working with Portland producer Graham Jonson, known as quickly, quickly, Sophcore delivers its most beautiful and energetic moments. “Gold Coast” starts as a sensual, rhythmic piece reminiscent of Bjork’s Vespertine. Sumney’s smooth falsetto both complements and contrasts with the plucked guitars, layered vocals, and synths; his abstract lyrics create a poetic charm. A symphony of gurgles and music-box melodies underpins “I’m Better (I’m Bad),” where Sumney delightfully recreates a dialogue with a feminized object of desire. Throughout Sophcore’s innovative grooves, Sumney exudes a playful energy. His confidence in his vocal abilities never turns into self-importance. He proves that trills and melisma are perfectly suited to arrangements that expand and contract like living organisms. The finger-snapping rhythm of the closing track “Love’s Refrain” serves as a subtle metronome, reminding Sumney that his interests remain grounded despite the elevated perspective of his vocal experiments. By duetting with himself endlessly, he deepens the mysteries, leaving listeners both satisfied and eager for more.
