SOPHIE

An experimental idea doesn't have to be separated from a mainstream context. The really exciting thing is where those two things are together. That's where you can get real change.

The pop-music video is one of the most powerful communication tools we have. Most people have access to a phone, and you can click a video and absorb it in three minutes. If it's potent enough, you can take in the message or have some sort of experience in multiple dimensions, the music with the image.

I heard it from a friend of mine who told me about a group of people where he grew up in Detroit who called themselves Pony Boys that souped up Nitro cars.

I hate my birthday. I don't like to celebrate it much. But, if someone wants to throw me a surprise party, that normally works better.

I think being completely authentic about the time you live in is something that I would view as a career-long objective - to find out what is authentically this moment.

I get so much energy and I learn so much through collaborating with other people. Ultimately, I think the best music will always be created through collaborations - pooling together skills to create something bigger than any individual. I like to use my own SOPHIE material to present ideas in their most extreme, un-compromised form. I really use those opportunities to express exactly where I'm at in terms of production and writing ideas, as a document of my thoughts and feelings, as well.

In music, I don't think there's any need to be an all-rounder and do everything yourself. Play to your strengths, and do what you feel. Or do whatever the material itself demands. In this case, I felt like it would benefit from me singing, and I wanted it to have that sound.

The intention of showing myself to the world has always been to be how I want to be and how I'm comfortable in the world, never to be anonymous. Right now, I'm just going with my instincts, and this is what I feel like doing. I'm always honest in what I put across.

Contextualize the music. I really hope to do more of that.

To keep on collaborating with my friends from Cecile Believe and FluCt who inspire me a lot and who are part of the team putting this whole show together. I'm excited to have that kind of play.

I think being completely authentic about the time you live in is something that I would view as a career-long objective - to find out what is authentically this moment.

I'm always trying to encapsulate how we, as emotional beings, interact with the world and the machines and technology around us - being able to emote through those things. They're not antithetical or mutually exclusive.

The 'Ponyboy' single is coming out next because it's the other bit of the pole of the record. Sort of everything I'm interested in happens on that axis - everything I'm interested in this material happens on that axis, and so I was really excited to tour 'It's Okay to Cry' and 'Ponyboy.'

I think you feel more liberated in a foreign country. You're more open. You understand less about the social constructs that exist in a certain place, so you take people more at face value, and you're also taken more at face value, which makes you more able to be yourself.

I make my music to express everything I feel is necessary to communicate at a given time. Through music, I can express myself with statements that are more nuanced and more contradictory than factual details.

Transness is taking control to bring your body more in line with your soul and spirit so the two aren't fighting against each other and struggling to survive.

I heard it from a friend of mine who told me about a group of people where he grew up in Detroit who called themselves Pony Boys that souped up Nitro cars.

I hate my birthday. I don't like to celebrate it much. But, if someone wants to throw me a surprise party, that normally works better.

Contextualize the music. I really hope to do more of that.

'Lemonade' is made out of bubbling, fizzing, popping, and 'Hard' is made from metal and latex - they are sort of sculptures in this way. I synthesize all sounds except for vocals using raw waveforms and different synthesis methods as opposed to using samples.

The pop-music video is one of the most powerful communication tools we have. Most people have access to a phone, and you can click a video and absorb it in three minutes. If it's potent enough, you can take in the message or have some sort of experience in multiple dimensions, the music with the image.

To keep on collaborating with my friends from Cecile Believe and FluCt who inspire me a lot and who are part of the team putting this whole show together. I'm excited to have that kind of play.

The thing that separates Sophie from the music I do for other people is that it's 100% written by me. In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have.

An experimental idea doesn't have to be separated from a mainstream context. The really exciting thing is where those two things are together. That's where you can get real change.

In music, I don't think there's any need to be an all-rounder and do everything yourself. Play to your strengths, and do what you feel. Or do whatever the material itself demands. In this case, I felt like it would benefit from me singing, and I wanted it to have that sound.

I get so much energy and I learn so much through collaborating with other people. Ultimately, I think the best music will always be created through collaborations - pooling together skills to create something bigger than any individual. I like to use my own SOPHIE material to present ideas in their most extreme, un-compromised form. I really use those opportunities to express exactly where I'm at in terms of production and writing ideas, as a document of my thoughts and feelings, as well.

It could be confusing to people, but it's very simple to me, and it always has been - creating the thing that I want. In music, I don't think there's any need to be an all-rounder and do everything yourself. Play to your strengths and do what you feel. Or do whatever the material itself demands.

In a basic music way, my sense of melody and my style of songwriting and production carry the same thought process into the new music. I'm thinking about machines and electronics, and how they interact with motion, which I've touched upon in the past. Those key themes are my main interests, and they are really the foundation for my approach to music.

In the past, I've written my songs and then asked friends if they could record the vocals. I didn't want to use my own voice, because other people have much better voices. I was hearing the music with a voice that I don't have. It was a case of pulling whatever resources I had to get the sound I wanted, but that doesn't take anything away from the authorship. They are songs written by me that sound the way I want them to sound. Whether it's my voice or someone else's doesn't make a difference to the music.

The intention of showing myself to the world has always been to be how I want to be and how I'm comfortable in the world, never to be anonymous. Right now, I'm just going with my instincts, and this is what I feel like doing. I'm always honest in what I put across.

When you're working with other artists, it's often a mix of your ideas with somebody else's, which can be extremely fruitful. But then it's also interesting to present the completely undiluted vision of what I imagine music could be. I care about both my own music and collaboration equally, and I pretty much split my time equally, as well.

With a live music performance, the ideas of the richness and complexity of our inner and outer worlds - the emotional world and the external world, like the planets, the weather, and the universe are really washing over you. Your body feels the intention more than your mind analyzing intellectually too much. I've always tried to do this in my music, to make it very direct and bodily, so that it communicates itself immediately, even to someone without prior knowledge of it.

Moment to moment, I'm very much just feeling and trying to synthesize what I'm taking in so it can come out musically. I'll continue to do that. I'm also someone who really likes to push themselves into new situations with new people and try to learn from them. I will be very happy to continue doing that, if people let me.