Sofie Royer returns with her third album, ‘Young-Girl Forever’, a shimmering dreamscape of female artistry in the 21st century. Tackling capitalism, existentialism and belonging, Royer addresses these topics head on with an all-encompassing body of work. From sparkling synths to multi-lingual ruminations, Royer unapologetically explores artistic expression in boundless capacities.
Royer shares ‘Young-Girl Forever’ arose from the – uniquely female – artist’s experience of worth being inexplicably tied to output and performance, tracing back to Royer’s own personal experiences from childhood. Indeed, Royer has been on a journey of self-discovery of late. Completing her teaching degree in philosophy and psychology, Royer simultaneously embarked on a tour with French artist Lewis Ofman. Orbiting within completely different states of being, this was her headspace as she began the writing for ‘Young-Girl Forever’. On the record, she shares, “In all my records, there’s this theme of me feeling permanently stuck in a coming-of-age. I probably felt more of an adult in my 20s, when I still had an office job. Now that I work as an artist, it all feels bizarre and arbitrary and regressive. It can be a kind of anarchistic existence, where there’s no rhyme or reason to my schedule, so this album deals with feeling anchorless.”
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While on tour, Royer also resonated deeply with the 1999 book Preliminary Materials for the Theory of a Young-Girl by the French anarchist group Tiqqun. In the book, the figure of the young girl represented a wider symbolism of consumerism under the umbrella of modernity. This informed the themes in Royer’s latest body of work, as she reflects on coming-of-age and what that truly means when you peel back its layers in context.
‘Babydoll’ rings in the record with expansive beats and shimmering synths, while ‘Young – Girl (Illusion)’ is a lyrical exploitation on the very themes of the record. Followed closely by ‘Nichts Neues im Westen’, which leads with driving bass and forthcoming vocals. ‘Keep Running’ and ‘Indoor Sport’ delve into the electro-pop genre wholeheartedly, as ‘Sage Comme Une Image’ bolsters disco-infused performances and sparkling melodies. Standout track ‘I Forget (I’m So Young)’ is a bold rumination on Royer’s inner workings, before winding down on ‘Ghost Town’, a reflective ode on the past. Interlude ‘Tigerbunny’ leads the listener into “Lights out baby, entropy!” a catchy pop melody layered atop 80s leaning synths and guitar riffs. ‘Saturdee Night’ embraces indie rock sensibilities as ‘Fassbinder’ rounds out the record on a piano-strong encapsulation of Royer’s diverse vocals and artistry. A 12-track strong collection of electro-pop songs, Royer constantly reaches into territories of experimental musings and genre-bending expressions. She does so seamlessly – from shimmering synthetic percussives, to high-drive guitar solos, Royer projects the utmost comfort in various states of fragility and unsurety.
9/10
Words: Rachel Leong
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