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. βBeing irritatingly ideal at that time in my life, I politely declined and continued on my own path of exploration.β 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 Australiaβs 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 Sparklehorseβs albums, Good Morning Spider and Itβs 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 itβs own burdens. βHaving 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.β 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.
βI couldnβt see myself putting out a record before thisβ 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 oneβs own emancipation from the weighty trials that come hand in hand with the creative gift. βThere was a strange joy around these songs in the studio.β 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. Itβs 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 Sophieβs Sol Seppy, and a tribute to the unfolding of one artistβs spectacular vision. The Bells of 1 2 is prismatic by nature, with Sophieβs guiding light splitting into an wide array of sonic colors. βItβs the discovery of beauty that inspires me the most,β she says, clandestinely hinting at an endless impetus for the songs of Sol Seppy.
Move
Sol Seppy Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Don't you know in your heart is the power to change everything
Don't you know in your heart is the power to change everything
Time to return in a circle
Bout' to miss anything
Come to me sometime
Give me some of your shine, shine
Maybe for all mine
I need you now tonight
I need you now tonight
Oh tonight
Are you waiting for somebody else to move
Don't you know in your heart is the power change everything
Don't you know in your heart is the power to change everything
Oh now it is time to move in unity
Time to return in a circle
'Bout to miss anything
Up in the fungi
Until you girrate
In the fresh air
Like an air balloon
Only with you
I just wanna be there with you
I just wanna be there with you
I just wanna be there with you, Kay
The lyrics of Sol Seppy's song "Move" consist of a message of empowerment and encouragement. The singer seems to be addressing someone who is feeling stuck or lost, urging them to stop waiting for someone else to take action and to realize they hold the power to change their circumstances. The repetition of the phrase "don't you know in your heart is the power to change everything" reinforces this message of self-belief and agency.
The lyrics also suggest a need for unity and connection, as the singer urges the person to "move in unity" and return "in a circle." The use of natural imagery, such as "fresh air" and "air balloon," adds a sense of freedom and possibility. The singer seems to be offering themselves as a source of support and encouragement, saying "come to me sometime" and expressing a desire to be with the person.
Overall, the lyrics of "Move" convey a message of empowerment, encouraging listeners to take control of their lives and believe in their own abilities.
Line by Line Meaning
Are you waiting for somebody else to move
Asking if you're relying on someone else to make a change instead of taking action yourself
Don't you know in your heart is the power to change everything
You have the strength within yourself to make a significant change
Don't you know in your heart is the power to change everything
Reinforcing the previous line's message
Time to return in a circle
It's time to go back to where you started and reevaluate your choices
Bout' to miss anything
You might miss out on something important if you don't return to where you were
Come to me sometime
Asking the listener to reach out to the singer
I've been waiting for a long, long time
The singer has been waiting patiently for the listener
Give me some of your shine, shine
Asking for some of the listener's positive energy
Maybe for all mine
The singer is willing to give their own positive energy in exchange
I need you now tonight
Expressing an urgent need for the listener's presence
I need you now tonight
Repeating the same message for emphasis
Oh tonight
Further emphasizing the urgency from the previous lines
Are you waiting for somebody else to move
Repeating the earlier question to reinforce the message
Don't you know in your heart is the power change everything
Asserting that you possess the ability to make a change
Don't you know in your heart is the power to change everything
Repeating the message for emphasis
Oh now it is time to move in unity
It's time to work together towards a common goal
Time to return in a circle
Repeating an earlier line to remind the listener to reevaluate their choices
'Bout to miss anything
Repeating an earlier line to emphasize the importance of returning to where you started
Up in the fungi
In a state of confusion or disarray
Until you girrate
Until you spin or turn around
In the fresh air
In a new and refreshing environment
Like an air balloon
Floating aimlessly, without a sense of direction
Only with you
The singer wants to experience this together with the listener
I just wanna be there with you
Expressing a desire to be with the listener
I just wanna be there with you
Repeating the same message for emphasis
I just wanna be there with you, Kay
Addressing the listener by name and conveying a sense of connection
Contributed by Julian N. Suggest a correction in the comments below.