Moses Sumney Wants You To Meet Him In The Back

On his new EP Sophcore, Sumney marries signature sultry tones with a newfound bravado

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It’s never too late for new first impressions, that much Moses Sumney makes clear. Sophcore opens with his signature jazzy electronic notes, but about twenty-five seconds in, something different hits. He begins a breathy refrain (“I’m better / I’m bad”) that forays into an auto-tuned sing-rap reminiscent of Solange’s “Almeda,” complete with trilling hi-hats, heavy bass, and an outro that feels like an interlude. 

For this swaggering first track, “I’m Better (I’m Bad),” Sumney adopts rap sensibilities, in both cadence and theme:

“I used to be such a simp / so simple / now that I’m poppin’ and fine / no pimple / they wanna hop on my line / akimbo / but I just spin ‘em like dimes / a himbo”

At first glance, this choice seems like an unexpected departure for him, but upon further inspection, the EP’s package gives it all away. For most of Sumney’s previous projects—notably his major albums Aromanticism, græ, and Live From Blackalachia—the cover art depicts him obscured or distorted, facing away from the camera. Yet on Sophcore’s cover, he addresses us head-on, donning white fur, nipple piercings, rippling abs, and a smoldering look. He wants us to see him. 

And now that he’s no longer a “simp,” a title like Sophcore, which appears to be a portmanteau of the words “sophomore” and “softcore,” suits him. Funnily enough, both of these words are portmanteaus in their own right. When broken down, "softcore " means what you think it does—it is the subdued counterpart to all things hardcore, intense, and uncompromising (sensual or otherwise). However “sophomore” is loaded with more meaning. Its two parts, “sophos” and “moros,” are Greek in origin, meaning “wise fool” when translated to English. The word warns that knowledge combined with hubris is a dangerous thing. Yet in Sumney’s rendition of the word, “more” (or “fool”)  is left out, in favor of “core.” With this, Sophcore implies a wise confidence in which Sumney can own his power without foolishly bruising the fruits of his tender core. 

This feeling rings true for the rest of the EP. After the first track, Sumney settles back into the soul-rock sound he’s known for. On “Vintage,” he returns to a sweet falsetto as the sound of an old piano surges with nostalgia and he croons for a relationship that once was. “Whippedlashed” is about the jostling emotional haze of meeting a lover that sends you into a headspin, for better or worse. “Gold Coast” is about another love encounter, this time unfolding on a dance floor in Accra. Here, he brings back the bass and high hat from the opening track yet more gutturally rooted.

On “Hey Girl”—arguably the stand-out track—the push and pull of Sumney’s subtle power comes to a head: 

“Ladies’ room (ladies’ room) / meet me in the back / Ooh, and I’ll wait for you / if you want me to / I’ll wait for you / if you trust me too”

A stripped electric guitar grumbles between each phrase, in contrast with Sumney’s sweet breathy tone. The same duality comes through thematically, as his sensual approach is both commanding and open-ended. “Meet me in the back,” he says, but the ball is in your court. And again, the duality of his soft-confidence plays out through the breadth of his remarkable vocal range. As he swings from a deep baritone to a breathy falsetto in this song, we glimpse the peaks and valleys of a moment alone with him, which above all, makes “Hey Girl” the sexiest song on the EP. 

Sophcore ends with “Love’s Refrain” and too predictably leans on the word “refrain” as a double entendre. Admittedly, the use of this lyrical device feels contrived. Much of the lyrics on this project either do too much or do too little; they’re either too on the nose or too far out of reach. Perhaps Sumney is still grappling with wholly articulating the duality of soft-confidence. Yet overall he shows an appreciation for form. EPs are opportune moments for artists to experiment in-process without being held to the expectations that come with a fully-formed album. Sophcore is also timed perfectly with summer’s end. Take this as a fond expression of how best to carry the sun’s boastful energy and simmer it into the tender slow-down that comes with fall’s imminent approach.