IN CONVERSATION WITH: SOFIE ROYER

Sofie Royer - singer, DJ, model and everything in between - is back with her new album 'Young-Girl Forever', on which the Vienna-based artist once again demonstrates her talent for creating shimmering electro-pop combined with highly personal lyrics that question what it means to be an artist today and all the struggles and existential questions that come with it. By the end of the album, we understand that it is not always about finding the answer to existential questions, but rather about accepting reality, and that a glass of wine and some dancing to the songs on 'Young-Girl Forever' is all we need. On the new album, Sofie finds the perfect balance between joyful sounds and the melancholy of existential crisis. Sofie Royer spoke to Copypaste about the concept behind the new album, being part of the early beginnings of Boiler Room (and how it changed) and opening for Lana Del Rey in Paris.

photographer: Jasmin Baumgartner @jasminbaumgartner_
graphic design: Sandro Rybak @sandroryry text & interview: @martinmanuelry

You recently released your new album 'Young-Girl Forever'. Although it is rich in different themes, can you describe what the essence and true meaning of it is for you?

Dealing with reality, processing reality, and trying to create timeless music are kind of the essence of any musical output I try to do. That coupled with the fact that I also really wanted to create an album that I could have a little bit more fun with on stage; performing in a live setting.

You said in an interview that you take a more academic approach to your music compared to the other art you create. What was the process behind creating your new album 'Young-Girl Forever' compared to your previous albums?

I don’t mean to take any type of approach; perhaps that was misunderstood — it’s just that I’m the most ‘learned’ in music, versus my painting or acting is really naive. I sometimes wish I had a more naive approach to music! The process in terms of production was super quick. It was the first time I was able to free up some dedicated time to making the record, instead of just here and there in little pockets of time, which was the case for my first two. So while there was a little more deliberation and perhaps time spent on production; overall the process was a lot more streamlined. The whole record was done fairly quickly, with lots of intuitive decision making involved.

There are a lot of theatrical elements in your art, like when you wear harlequin make-up and costumes. It almost feels like a cabaret. How important is this theatrical aspect to your art?

The cabaret references were very much tied to the second album, Harlequin. I think a certain amount of theatrics are always involved when performing on a stage; but to that level it was very much second album specific!

You also have a classical music background. Can you tell us about that and how you incorporate those classical instruments into your current music and performances?

I play a lot of violin on stage (more than you will hear on the record), because I like doing a fun live show that isn’t just a cover band of my own music. So my band and I end up having a lot of very neat moments that allow me to use that instrument a lot, which I really love. In terms of songwriting and production, it ties in with my earlier answer, I just happen to be schooled in one discipline, so to speak, so invariably classical progressions can be found in my songwriting, because they feel so familiar to me, I end up being most drawn to them. Even though that’s probably just my brain defaulting to what it thinks sounds “right”!

You were also part of the Boiler Room team and a DJ. How did you experience that time and are there any influences from that time in your current music?

I saw a really interesting exchange with people regarding Boiler Room recently on X with my former colleague, Michail Stangl, that I’m going to try and recap super briefly: Boiler Room was so vastly different from what it was to what it is now, as the project in its entirety was sold to ticketing company Dice. The time I experienced at Boiler Room is so wildly different from what is going on there now, that I frankly would prefer to not comment on it too much — but it was great to me while it lasted. I was afforded the chance to curate some really memorable shows, engage with music/culture scenes that I enjoyed a lot, meet some of my childhood favourite artists… in terms of influence in my current music, I’m not so sure. Again; there wasn’t a specific sound that I was known for curating on the show, other than what was perhaps vaguely catalogued more territorially, as US or West Coast initially, since that’s where I began working for Boiler Room. I, much like my fellow colleagues, had very eclectic tastes when it came to genres!

I discovered your music when you opened for Lana del Rey in Paris. How did you experience that night at 'L'Olympia' and how did it feel to be the opening act for Lana?

That’s so cool! That was a really special show for me. It’s such a historical venue, the call that I was doing it came in pretty last minute - I was sitting on a beach in Cassis with terrible reception, salt from the ocean caking on my iPhone in the heat - when I found out. I like her music a lot, though at the time I was not so intensely familiar with her songs. This past fall that’s changed and I’ve been listening to Chemtrails over the Country Club kind of a lot!

I especially liked 'Baker Miller Pink' where you sing about this very special colour also called 'P-618'. Can you tell us more about the colour and the story of the song?

The song was written about a very specific person, yet when I finished listening back to the recording, it could be about anyone. Also, Baker Miller Pink in a way was almost the blueprint for a lot of the Young-Girl Forever album. Things that are hyperpersonal yet perhaps also within them exists a universal truth.

Is there anything else you would like to add?

Thank you for listening! More music soon I hope!