Chess Club Records have carved out a niche by allowing young signees to produce lo-fi music that explores contemporary topics, powered by classic influences that dominated the charts before most of them were even born—from the Chic-like funk strides of Alfie Templeman to the futuristic yet melancholic Depeche Mode-esque energy of L'Objectif.
A percussive opener fills the first few seconds of the album, building momentum for the unapologetic slacker vibe of "Sticky"—a groove-driven slab of lo-fi rock that unleashes non-conformist lyrics like "How you doing? / Call me what you want?" to signal a clear self-motivation to take control of the world as it necessitates change in your mid-20s.
The theme of having the license to speak your mind continues on "Hush," as SOFY delivers the rousing hook, "I don't have to speak 'cause you said it / Let's keep it hush," over dissonant guitars that pave the way for acoustic melodies to take on a more grunge-inflected tone as the track progresses.
Lily Allen might envy how SOFY uses cheeky, earworm-like instrumentation to accompany her speech-sung vocals. The spirit remains humble and restrained enough not to feel entitled or confrontational, inhaling and exhaling pressure with self-deprecating determination.
A budding romance creates a change of pace while navigating mental mess, as cool yet collected hooks like "Cause you're my sidekick, co-star / I want to be whatever you are" offer consent to cruise the sunny streets of Highland Park with the roof of a car firmly down in the third track, "togethertogether." This reverb-drenched anthem reflects on situationships, with reverb-soaked guitars, an aggressive breakdown, and pointed melodies setting the scene for a cathartic headphone party.
Rich drum breaks and cool, collected vocals are traded for more laidback beats on "Mine", as she navigates the conflicting maturation stages of a relationship that's running a little thin on petrol, retaining the late-90's "Baggy" spirit of diverse Britpop acts like The Stone Roses while infusing its sharpness with a slice of post-90's Pop Punk akin to Paramore.
Mid-tempo, clattering drum riffs characterize the fifth track, "Desktop," which retains the nostalgic essence of a pop-punk record but shifts toward a more petulant, powerful sound that Charli XCX's Brat persona might find symbolic. Comforting lyrics place a hand on a lover's lap, while copious rock riffs collide with dreamy edges, creating a shoegaze-inspired fusion.
She strips back the instrumentation for "Giant Designs," an interlude that shifts from soft and emotional to a confident declaration of letting go of insecurities and embracing the chemistry of a new romance. "Meet me at the precipice / I'll give you anything / Just for the hell of it," she sings, accompanied by a gently played acoustic guitar.
A more immediate, electronically modulated opening serves as the rhythmic punch for "Front Seat Honey," before she delivers witty lyrics like, "I've known the color of your coffee, since we were 22," and "I buy you presents on your birthday because that's what people do." This allows Sofy to explore close bonds through a shy, bespoke Britishness.
Her messy approach to love is laid bare, but the sentimentality creates an upbeat drive instead of relentless stress, as skittering drum patterns and fuzzed-out, distorted guitar-led production soundtrack her poise.
A soft push-and-pull structure underscores her decision to embrace the boundless potential of a genuine relationship despite lingering internal reservations.
This is highlighted by a percussive, head-nodding bass-heavy series of riffs on "Forever Floating," the closing track. Here, the encouraging lyrics and fuzzy feedback that characterized the earlier stages of the record are replaced by richer chords, marking a shift in both sound and sentiment.
Although the album's song structures may feel predictable as the rock-driven album progresses, and her vocals could benefit from a bit more urgency to fully amplify her maverick persona, Sofy shines through with her relatable and sincere songwriting. It feels raw and unpolished, free from any artifice.
She lets the eclectic soundscape—ranging from late-90s Psych-Rock and dub-infused Britpop to bold retro Pop-Punk—make a direct impact, rather than relying on generic vocal effects to carry the message.
Overall, despite some minor issues with unoriginality, this album firmly confirms that Sofy is here to stay, with celebrity fans like Arlo Parks and Tom Grennan likely to continue celebrating her earnest ruminations on life's messiness.
