Sophie died, and It’s Okay to Cry

Sophie arrived on stage after 1 a.m. in 2015 to close PC Music’s SXSW showcase in March 2015, but you would have been playing yourself if you had left her seat earlier. PC Music was the church’s hottest topic in Austin this year – a mysterious, naughty U.K. music collector who depends on whether he was reviving or destroying pop, depending on whether you To whom On Thursday night in the Empire Garage, devout rovers and curious passers-by made similar entries to see what sound cloud jesters like AG Cook and Hannah Diamond sounded like. Sophie was not a regular member of the group, just a good friend, but she made headlines. Anything else would have been useless. Memories of the other sets faded into the background as it surpassed the astonishing thunderous beat of the audience last night. It was fun, loud, it was a little scary. Sophie was a star. Now, six years later, she died very soon at the age of 34.

Even two months after the SXSW showcase, still happy with the memories of that night, I first met Sophie for an interview at a bar in Williamsburg, Brooklyn. Her eyes were sharp, focused, and she spoke in sharp sentences from a wooden board in a side booth. AG Cook, the founder of PC Music, was also emphasizing genetic and blasphemous tone, but Sophie was less interested in understanding the journalist easily than in conveying her art to the philosophical world. He emphasized the notion that there was a conceptual joke about PC music error: “One of the things I’m really interested in is the way people think it’s very artificial and artificial. It’s still impossible to do anything artificial, “he told me. “You have to meet a real person. No matter how you organize things, you always have to communicate with the real world and real people; in the real world, reality is more alien than fiction. If you try to create an artificial personality, it is always flat and two-dimensional in front of the real thing.

Something original. The secret of the early sofa classics, such as “Lemonade” and “Hard”: stylized and machine-like as they seem on the surface, every sound on these tracks a man finding a way to express his deep self Made . An insatiable desire for freedom is the engine to move faster than this light. Sophie, who from the beginning was known for her use of standard artificial instruments to create strange sounds, was an artist with as much soul as any vocalist, songwriter. Later in the same May 2015 interview, he presented it with great feature intelligence. “I think all pop music should be about who can make the fastest, brightest thing. He said, ‘It’s an interesting challenge for me both musically and artistically.’ And I think it’s a lot.” That’s the decent thing to do, and it should end there. Who knows, who might be the most emotionally crude? I don’t know why so many people prefer the one that is more valuable. Interest in being part of the challenge. What I keep is what makes current technology, current maps and people the brightest, fastest, most interesting thing.

It’s okay to cry

“It’s okay to cry,” said Crystal Ballet, who opens the album, taking us to the level of unparalleled sincerity: “Just know what hurts, it’s all mine / It’s okay to cry.” The rest of the album was full of devilish gusts like “Fish Shopping” and “Amethyst”, but it was important that every Pearl Oil start with this simple expression of love and understanding. Music was never fun.

There was nothing like listening to a sofa track in a crowded club, surrounded by other people on the same wavelength. I was lucky enough to experience that in a few years, and I should take more opportunities to see Sophie. I wish I could go out tonight and listen to DJ drama “LEMONADE” or “Roll with me”. It is cruel not to grieve in this way.

Instead, I will remember one of the last moments when I realized the wave of the sofa track was running in the sheep room. In April 2017, Charlie XCX’s No. 1 angel visited New York’s (Lee) Posen Rouge. The room was full of young pop idealists wrapped in sweat, glitter and optimism. I still remember the feeling of hitting the floor enthusiastically when the room sang along the bridge of “Vrom Vrum”: “All my life, I’ve been waiting for a good time, a good time.” Then the strange Synthesis kicked and swam high in the room. Sophie’s perfect production made this great time possible. Someday, we’ll have a good time again. His music and his memory will live on forever.

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