Mandatory Girl: Sophies Body, A Mandatory Listen
Interview and photos by Riley Natalia, edited by Frankie Adams, cover photo by Asher Thomas
Back in November, I visited a beloved Lowell Massachusetts house-show spot called Tango’s (R.I.P). Tango’s was exactly what you would expect from a house venue run by a bunch of 20-something-year-old men: miscellaneous decor, cigarette butts littering the floor, questionable airflow, and unforgettable lineups. I’d been feeling disconnected from New York City’s scene, which can be hostile and individualistic. The sweat and grime of small-town DIY community reignited my love for local music scenes, and I wanted to bring that back with me.
Sophie’s Body, a bubble-grunge four-piece stood out to me amongst the other bands that night. led by Sophie McMinn’s haunting vocals and intricate melodies, the boston based group brought a reinvented early 2000s girly pop-punk sound to this man cave. Harry Van der Meer holds it down on bass and fills the room with warm vocal harmonies, while Dylan Hughes skillfully shows restraint on the kit, adding that much needed punch. Although Adam Hurt couldn’t play this show, his tasteful lead lines add succinct richness; everyone is incredibly locked in with each other, a mesmerizing watch. A good portion of the set consisted of the now-released EP Mandatory Girl, five tracks that make you want to put on those ridiculously long Converse, fingerless gloves and headbang the night away.
Since then, I’ve seen them play a handful of times, and in anticipation of any release you can only hope that these recordings do their live performances justice. I was not disappointed. Accompanied by eerie but playful visuals, this EP is one you want on your playlists.
I reached out to Sophie’s Body with some questions about Mandatory Girl and here’s what they had to say:
R: How did this EP come together and what was your writing process for these songs?
S: To me, Mandatory Girl is an album of songs with shared themes of really intense feeling– I know that sounds vague but it all feels really intense to listen to. Throughout the recording and production process is where all of the songs started to mesh a lot better sonically, which is something that was really missing, and really really important to making a cohesive listening experience. There were a lot of changes made from our live set once we got in the studio, and realizing the difference between what works recorded and what works live was honestly life-changing. So a huge shoutout to our producer Justin for helping turn this collection of songs into a singular body of work.
A: We had been playing most of the EP live for about a year, and over time the little flourishes of performance started to seep into each song's DNA. It wasn’t until we entered the studio that we really started to stop and consider what we were trying to say with each section, phrase, and note. With the help of our amazing producer Justin, we reimagined a lot of the parts and trimmed the “fat” from certain sections. When you are in the room with a neutral 3rd party, you begin to think that “maybe this song doesn’t need a minute of traded solos tacked onto the end” or “maybe we don’t need a bass fill here” (Sorry Harry). As far as writing goes, generally Sophie will come to practice with an almost fully realized song for us to jam on. She tends to hole up for a while and then come in with some really amazing work, usually 2 or 3 songs at a time. It’s my job to identify the spaces she isn’t filling with her voice/guitar, and then add in my own textures, colors, and shimmer to complement the piece. I keep getting called back so I’d say this method has been working so far!
S: It’s really hard to put my writing process into words, because I don’t really have a process– I feel like songs get laser beamed into my head and they sort of just spill out of me, like you’re throwing up yknow? The tough part is catching all of the ideas in the proverbial chuck bucket (gross, but true).
H: As a bass player, my function is to be supportive. When it comes to the EP and our writing process in general, the 1st priority is making sure that whatever harmony/sound Sophie created on the guitar can sing in a full band setting. After that is covered, then I can consider more of a “part” or “line”. But there are some occasions where Sophie will already have a bass line written for me and it’ll be sick!
R: I really loved the visuals you put out to go along with the EP, what were your influences for creating a certain aesthetic (could be musical or not)?
S: The visuals for this project are centered around the idea of being generally unsettled– liminal, uncomfortable but not scared– the music video for LASH was really trying to capture that as best as we could. It’s been a pretty huge struggle to try and find what our sound looks like. It’s been scary also, because I’m scared of commitment (haha). But really though, even when we found a visual aesthetic that felt really good, it’s hard to take away some of the mystery behind the sound. I always want the music I make to be able to be reflected through the people who listen to it, first and foremost.
A: We really established the tone for the visuals when conceptualizing the music video for LASH. The main goal was to match the dark and moody sound of the song while preserving its sparkle, so to speak. Inspired by “the backrooms” and other liminal spaces, we sourced some weird shots from our quirky old Boston apartments. Despite most of the shots being filmed in my building, I’d say that Harry’s bathtub did most of the heavy lifting
D: We were going for something striking and eerie. The Lash shoot had only a very loose plan and most of those shots were pretty improvised. Asher Thomas and Olivia Monarch from Evil Eye helped us out a ton!
H: This is always a tough one, especially with original music that hasn’t been made before. How do you translate a new sound into a new look? We chose to go for a more of a dirtier/ratty but elegant look. This was achieved especially with help from Adam’s girlfriend, Trinity! She helped us a ton by letting us use some of her clothes that she styled for us. My outfit in the music video is Trinity’s pants and Adam’s shirt.
R: Playing DIY venues can be a hit or miss, what has been your favorite show you’ve played recently and what made it so great?
A: While I’m eager to play more established bars and clubs, I personally love the decadence of a lot of these DIY “venues.” We were playing on this basketball court in Amherst when Dylan kicked a hole through his bass drum. While we were frantically trying to flip the drum around so we could continue the show, the organizers decided to have a “Girl Blunt” smoking competition during the intermission. Watching 50 college students go crazy over 3 dudes speed-smoking lavender and weed (colloquially known as a girl blunt) was not something I was expecting when I joined this band, but it's definitely one of the perks.
S: Yeah the DIY scene is pretty temperamental, but when it hits it HITS. On our most recent tour to promote Mandatory Girl, pretty much every show was awesome, but one that really stood out was the show we played in Potsdam, NY. When we were booking the tour, all of our friends kept telling us how amazing the community was up there and we were like yeah yeah ok, but from start to finish it was incredible– the booking was a total breeze, the show organization was incredible, and the community UNREAL. There were old punk rockers, your typical scene teens, and also randomly a bunch of small children with their parents– and people actually listened to the music, which was incredible. If you’re in a band, and ever get to play in Potsdam, the DIY there is so magical, you seriously will not regret it.
D: There’s a great venue in DC on a horse farm that we’ve played a few times. Everyone there is incredibly nice, and it's the most gorgeous place to host shows. Like Sophie said, Potsdam NY is also incredible, the sense of community there makes the shows so special.
H: There was one time we all dressed up as the Hex Girls from Scooby Doo for a Halloween show in an Allston basement. The basement was packed and we were super loud and it was awesome. One of my favorite DIY memories for sure.
R: Photos of these costumes are a must-see on the band's Instagram, @sophiesbodymusic!
R: Congratulations on graduating from Berklee this year! What’s the greatest advice you have received during your time in music school? And has studying music in college changed the way you approach creating for Sophie’s Body?
D: Studying with Terri Lynne Carrington was such an amazing experience. Although she’s a master drummer, she would rarely play in lessons or comment on “drum-specific” aspects of my playing. She instead would bring up broader, deeper topics, getting me to think about my drumming and art in a new light. One idea that she posed that I think about regularly is about collectivism vs individualism in music. How can us musicians promote collectivism in our music? How can a drum solo invite people in, creating a collective experience, rather than being an individual “look at me” moment? Where does ego play a role when you perform for people? These are questions that I’m still trying to find the answers to, but I feel they guide me towards a way of approaching music that is hopefully more impactful. Studying at Berklee has 100% changed my voice as a drummer, and therefore what I contribute to this band is different because of it.
S: The greatest advice I’ve received during my time in college is to be open to EVERYTHING the universe throws at you. My directed study professor, Joe Carrier, told me that when he looks back at his life and his goals, he’s checked off everything on his bucket list– just not in the way he thought he would. That really struck me, because I can get so tunnel vision-y on the way that everything has to go, and if things don’t go according to plan, that means that I’m a total failure, obviously. Turns out that living life that way sucks pretty bad, and being open to a fork in the road can lead to some seriously amazing stuff. So thanks, Joe for the advice, it’s actually helping.
A: Being someone who is occasionally plagued with anxiety, I had a hard time when I first got to school. I kind of self-isolated for a year or two and didn’t really play any gigs. In my sophomore year, one of my classes was with guitar chair Kim Perlak, and slide guitarist David Tronzo. That class, specifically the “no bullshit” attitude of both Tronzo and Perlak, and their countless harrowing anecdotes, lit a fire under my ass bigtime. They really harped on the idea that at that point, I should really be taking every gig thrown my way; it’s all a learning experience. That thinking pulled me out of a hole and eventually led me to join this band. Thanks Tronzo and Perlak!
R: For Sophie specifically, from your high school band Weather to Sophie’s Body now, how do you feel like you developed as a musician?
S: It’s funny– I’ve learned SO much at Berklee, and even from the Arts high school I went to– but I don’t recall ever using any of that information to directly affect how I write songs. For sure music theory and ear training and all that good stuff have ingrained themselves into how I play, but it’s never a conscious “oh I oughta put a ii-V here to transition into the next verse”. Thinking about structure and theory and resolutions can be cool, and people really do sleep on the importance of counterpoint because it absolutely transcends pitch– but if I start thinking too hard when I’m writing a song, I inevitably end up feeling inauthentic in my writing. I don’t know if that’s a good thing or a bad thing, but it is a thing. The biggest leaps I’ve made in my musical development have honestly felt like they’ve come from just gigging a ton. Since Weather, I’ve gotten over my fear of using a pedalboard, I’ve learned how to book shows, I’ve learned how to coexist in a Toyota Rav 4 with three boys, and I’ve gotten a lot better at self-producing demos, which has been absolutely instrumental in finding the Sophie’s Body “sound”– which is always a work in progress. I can feel the progression though, which is cool, and something I’m proud of.
R: We have to continue supporting our local music scenes, what are some local (to you) bands you would recommend for our readers to see?
S: The Boston local scene is so amazing, and I’m sure by the time this interview comes out there will be like 5 more super sick bands that will have spawned out of a grimy-ass basement out in Allston– but to name a few of my local faves: Tiberius, Ski Club, Warmachine, Pleasure Coffin, and Park National. All amazing bands, and amazing people.
H: Try and catch Park National and Little Plastic Dinosaurs!!! I have a good buddy in LPD not to mention their music rocks.
D: Tiberius, Joey Dubois, the Fringe, and (not local but she’s always on the road and amazing) Mirabelle Skipworth.
A: If you're in Boston, the main bands to catch for me are Tiberius, Human Mascot, and Women in Peril. If you’re in the general northeast, you gotta catch CPS out of Albany, Precious Little Life in New Jersey, and Innerlove out of NYC. Thank me later!
[Add Sophie’s Body links to their instagram and spotify/apple music/ https://www.sophiesbody.com/]
