At sixteen, Sophie began writing music for television documentaries and swapping her vocal abilities for free studio time at the EMI studios in Australia. For the next few years, labels would approach her with offers, provided she shifted her image to fit their ideals and sing the pop songs their producers wrote. “Being irritatingly ideal at that time in my life, I politely declined and continued on my own path of exploration.” Here Sophie reached a peculiar juncture, and went to university with the intention of becoming a diplomat, believing she could be of better use in such a role. She soon shifted courses and was accepted into the Sydney Conservatorium of Music, where she studied contemporary composition and orchestration. In due course, she began making a name for herself as Australia’s improvising rock cellist, touring with numerous acts, though the position soon wore itself out, and Sophie decided it was time to move on.
She moved to the US at twenty-three, and not long after touch down received word that Mark Linkous of Sparklehorse had heard her music and wanted her to join up with them for their tour with Radiohead. Sophie obliged, and afterwards found herself contributing on Sparklehorse’s albums, Good Morning Spider and It’s A Wonderful Life.
After her time with Sparklehorse, Sophie continued pursuing numerous musical avenues, and eventually was able to afford moving to upstate New York, where she could finally set up a studio of her own, though even this conjured up it’s own burdens. “Having the luxury of my own studio was great, but without an engineer to stop me, I destroyed most of what I wrote. To my dismay, my beloved music was turning into a gargantuan mirror and I couldn't stand it. Barely any songs made it out alive; the studio was like a war zone.” Unbeknownst to her, a major change was approaching. One night, while Sophie was out, there was an explosion in her studio, which promptly melted every piece of gear she owned, taking the whole house with it. She relocated, and began rebuilding another studio from scratch, and it was here that Sol Seppy began to manifest itself.
“I couldn’t see myself putting out a record before this” says Sophie. The catalysts for The Bells of 1 2 had long been developing, but had taken time to firmly materialize into a cohesive vision, apparent on the record. As the sole voice and creator behind Sol Seppy, Sophie landed not only the role of writer and performer for The Bells of 1 2, but also that of engineer and producer, with some additional mixing duties by Paul Antonell; all in all, a very substantial task for one person to surmount. As a result, the record is a true testament to the kinetic power of one’s own emancipation from the weighty trials that come hand in hand with the creative gift. “There was a strange joy around these songs in the studio.” This haunting, yet uplifting underpinning permeates most of the songs on the record.
Sol Seppy, the venture born of a longing for some perhaps unrealizable escape, has returned upon itself with an internal response, bearing the title, The Bells of 1 2. It’s celestial romanticism glows in the enchanting vocals of Sophie, each track a channel to some uncanny territory. Slo Fuzz beckons with an affectionately plaintive chorus, wishing to fly away, bubbling over ethereal melody lines. Wonderland tells the story of an artist with the sinking feeling that a change will never come. Come Running is a curious ode to companionship. Enter 2 Human plays out as one of the most heartrending incitements in recent years. Each song is more than enough to get lost in.
This enchanting record has finally seen its completion, a benchmark for Sophie’s Sol Seppy, and a tribute to the unfolding of one artist’s spectacular vision. The Bells of 1 2 is prismatic by nature, with Sophie’s guiding light splitting into an wide array of sonic colors. “It’s the discovery of beauty that inspires me the most,” she says, clandestinely hinting at an endless impetus for the songs of Sol Seppy.
Farewell Your Heart
Sol Seppy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Spare the end
Don't want to talk in metaphors
Your new hole is my head
I'm you holding me
Like you want a home
I'm really careful
Who really matters
So farewell your heart
And this is all
I've found no one
It matters not
Small man ornament
Fuck me up before you fly
No more little grey skies
I'm you holding me
Like you want a home
I'm really careful that I hurt no one
Who really matters
So farewell your heart
And this is all
I found no one
It matters not
These lyrics convey a sense of entanglement between two individuals, as well as a hint of impending separation. The first line, "Come here, spare the end," seems to be an invitation to stay and enjoy the moment, but also acknowledges that there is an inevitable ending that they are attempting to avoid. The following line, "Don't want to talk in metaphors," suggests that the singer desires clarity and directness in communication, avoiding any sort of abstract or poetic language that can often muddy the waters. The phrase "Your new hole is my head" is one of the more cryptic lines, but it could possibly be interpreted as the singer feeling emotionally overwhelmed by the other person's presence, to the point where they feel like they are "haunted" by that person even when they are physically absent.
The chorus of the song, "So farewell your heart, and this is all; I've found no one, it matters not," expresses the sense of separation that is alluded to earlier in the song. Despite the fact that the singer has not found anyone else, they are willing to let go of this relationship and move on with their life. The line "Small man ornament, fuck me up before you fly" seems to be directed towards the other person, suggesting that they have caused some sort of emotional pain for the singer. The final lines of the song, "No more little grey skies; I'm you holding me, like you want a home; I'm really careful that I hurt no one who really matters," suggest a sense of growth and self-awareness on the part of the singer. They are trying to move forward and create a stable, loving home for themselves, while being mindful of the impact they have on those who they care about.
Some potential interpretations of this song could include themes of codependency, emotional intimacy, and the difficulties of letting go of toxic relationships. The imagery used in the lyrics can be somewhat abstract, but the overall mood of the song is one of introspection and reflection. Sol Seppy's delicate vocals and sparse instrumentation add to the melancholic atmosphere of the song.
Line by Line Meaning
Come here
Sol Seppy is beckoning someone to come closer, towards her.
Spare the end
Sol Seppy is asking the person not to mention or bring up the end of their relationship.
Don't want to talk in metaphors
Sol Seppy doesn't want to use complex or abstract language to discuss their relationship.
Your new hole is my head
Sol Seppy seems to be saying that the person's actions have left a lasting impression on her mind.
I'm you holding me
Sol Seppy is describing how she feels, as if the person is holding her and giving her a sense of home.
Like you want a home
Sol Seppy is suggesting that the person is seeking a sense of belonging and is trying to find it through her.
I'm really careful
Sol Seppy is cautious and considerate of other people's feelings.
That I hurt no one
Sol Seppy is trying not to cause emotional harm to anyone who holds significance in her life.
Who really matters
The people who hold significance in Sol Seppy's life are the ones she is careful not to hurt.
So farewell your heart
Sol Seppy is saying goodbye to the love that they both once shared.
And this is all
This goodbye is all that's left for Sol Seppy to say or do.
I've found no one
Sol Seppy has not found anyone else to replace the love she once shared with this person.
It matters not
The fact that Sol Seppy has not found anyone else does not matter anymore.
Small man ornament
Sol Seppy is perhaps describing the person as insignificant or unimportant.
Fuck me up before you fly
Sol Seppy seems to be expressing a desire for the person to hurt her before leaving, rather than just leaving without saying or doing anything.
No more little grey skies
Sol Seppy seems to be hoping for brighter and happier days, without any sadness or melancholy.
Contributed by Avery D. Suggest a correction in the comments below.