Oil Of Every Pearl's Un-Insides
by SOPHIE
User Score
8.4

Universal acclaim- based on 260 Ratings

User score distribution:
  1. Positive: 231 out of 260
  2. Mixed: 9 out of 260
  3. Negative: 20 out of 260
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  1. Doof
    Jul 12, 2018
    5
    OPN's 'Garden of Delete' was an absolute classic, and Clarence Clarity's 'No Now' was a flawed slice of near-genius...for me, this pales in comparison to those two similar-ish releases. That's not to say this doesn't have its moments, or that there's no potential shown here, just overall it becomes less and less interesting the more you listen to it - where the aforementioned two albumsOPN's 'Garden of Delete' was an absolute classic, and Clarence Clarity's 'No Now' was a flawed slice of near-genius...for me, this pales in comparison to those two similar-ish releases. That's not to say this doesn't have its moments, or that there's no potential shown here, just overall it becomes less and less interesting the more you listen to it - where the aforementioned two albums became more interesting as they slowly revealed their depths.… Expand
  2. ernis_v
    Jul 6, 2018
    6
    Arca meets Grimes-esque processed vocals. The middle of the album sounds literally like a Stalker: Shadow of Chernobyl soundtrack - lofi noise with no vocals.
  3. clem666
    Oct 18, 2022
    5
    I can understand that many people can find some pleasure in listening to this album. It surely is unadulterated, bombastic, explosive and poetic in many ways. The transitions do have something mysterious and attractive.
    But to me it is more a majestic mess. I can't deny that I wasn't hyped or deliciously trapped in some melodies like on 'Is It Cold in the Water?' or on 'It's Okay to Cry'.    I can understand that many people can find some pleasure in listening to this album. It surely is unadulterated, bombastic, explosive and poetic in many ways. The transitions do have something mysterious and attractive.
    But to me it is more a majestic mess. I can't deny that I wasn't hyped or deliciously trapped in some melodies like on 'Is It Cold in the Water?' or on 'It's Okay to Cry'.
    But the rest appears to me as one of the most unstructured, raw and chaotic collections of varied sounds. 'Not Okay' is a perfect example: from a given moment, I just have the impression that Sophie is pressing random buttons on a synthesizer in a screaming silence. No pattern, no construction, no research, just a plain experience of disovering numerous sounds. The last double and endless track 'Whole New World / Pretend World' also is one of the cheesiest of the record. It is repetitive as hell, raw and unnuanced all along.
    I managed to discover a few parts where a previous collaboration or closeness with Flume shows up. Excepted that he is able to bring some coherence in the messiest tracks he offers. And that is what is lacking here in my opinion.
    Unfortunately, I wish there was more to discover or to be amazed by. So few replayability in addition to this.
    RIP SOPHIE    … Expand

Awards & Rankings

26
#26 Best Album of 2018
44
#44 Most Discussed Album of 2018
64
#64 Most Shared Album of 2018

Critic Reviews

All reviews »
Metascore
86

Universal acclaim - based on 22 Critic Reviews

Critic score distribution:
  1. Positive: 21 out of 22
  2. Mixed: 1 out of 22
  3. Negative: 0 out of 22
  1. AllMusic
    Sep 4, 2018
    90
    While SOPHIE's music has never been simple, Oil of Every Pearl's Un-Insides' complexities and transformations make it a remarkable debut album that reveals more with each listen.
    Read full review
  2. The Wire
    Aug 8, 2018
    80
    From its cryptic title to its discombobulating assemblage of stylistic approaches in the track listing, Oil Of Every Pearl’s Un-Insides is chaotic and disjointed. ... Bringing a range of seemingly contrasting elements together, SOPHIE has been problematising commonly accepted binaries since dropping the berserk dance pop of “BIPP” on Glasgow’s Numbers label in 2013. [Sep 2018, p.49]
  3. Uncut
    Jul 19, 2018
    70
    SOPHIE effortlessly crosses detailed, quartz-like avant-garde production with pop's unapologetic, dizzying sugar rush. [Sep 2018, p.39]
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