Over the past 12-18 months or so, you might recall that the Spanish-born, Berlin-based singer/songwriter and pop artist Sofi de la Torre quickly became a JOVM mainstay artist. de la Torre can trace the origins of her musical career to when she first began writing songs when she was 14 — and after stints in Los Angeles and London, where she signed a publishing deal with Sony/ATV and then wrote and recorded her full-length debut. As the story goes, after the release of her debut, de la Torre went through an extensive period of reflection, self-discovery and re-invention, which began with the JOVM mainstay artist experimenting with her sound and songwriting approach. Interestingly, her early experimentation eventually lead her to collaborate with Finnish songwriting and production team Jonas Karlsson and Axel Ehnström and the critically applauded “Vermilion,” which was featured on The Guardian’s playlist and on Grimes’ blog. The track was then remixed by deep house producers Crom and Thanh and played by Tiesto on his BBC Radio 1 program –- adding to an already growing international profile across the European Union.
Along with a growing international profile, de la Torre has developed a reputation for being rather prolific, releasing two critically applauded EPs That Isn’t You and Mess; in fact, at one point Mess steadily climbed the the Hype Machine charts and was featured in Spotify’s Weekend Buzz playlist. Now, although it’s been a little bit of time since I’ve personally written about her, de la Torre has been rather busy, writing and recording her latest EP Another. Not Me. I’m Done, and the EP’s latest single “D.G.I.T. (Don’t Get It Twisted)” is a collaboration featuring Blackbear and Taylor Bennett that further cements de la Torre’s reputation for deeply personalized songwriting — in this case, writing a song in which its narrator recognizes that because of her selfishness and immaturity, that she almost took a great thing for granted. And as a result, the song possesses a sense of vulnerability, regret and hopefulness — the hope that she hasn’t screwed it all up and hasn’t permanently lost a good thing. But along with that, the song pairs slick yet minimalist production consisting of tribal-like percussion, swirling electronics with de la Torre’s ability to craft a razor sharp, radio-friendly hook.
