Aggy Kazlauskas
Aggy Kazlauskas is a freelance journalist specialising in lifestyle and music. You’ll often catch him at the local record store, looking for the next album he hasn’t listened to yet.
Following the release of ‘WOMEN WHO LOVE TOO MUCH,’ Sofia and the Antoinettes discuss their debut EP, introspection and love
When it comes to self-perception, Sofia and the Antoinettes knows exactly who she is – a woman made of love.
“I’m a human writing about my human experiences,” she says. Well, technically, the London storyteller didn’t actually utter any of those words out loud. She wrote them down on a piece of paper instead, almost as if I’d been offered a sneak peek into the innermost pages of her memoir.
To say that it’s a career first would simply be an understatement, however, it’s also one of the coolest ways I’ve conducted an interview in recent years. At the very least, it definitely highlights Sofia’s appreciation of her human nature – somewhat idiosyncratic and always sincere.
It’s that exact integrity that Sofia’s debut EP, ‘Women Who Love Too Much,‘ is laden with.
Inspired by Robin Norwood’s bestselling psychology book of the same title, the six-track project spans a multitude of concepts that draw inspiration from the singer-songwriter’s personal life.
Little did she know, though, that a lucky encounter would help her set the wheels in motion for what the project was eventually going to become. “I found the book in a Spanish flea market in the summer of 2022, and the title just meant something to me,” she recalls.
Sofia confesses to going through a heartbreak at the time, which meant that inspiration was getting scarce for her – “but I saw the cover of that book and paid two euros for it,” she then explains. As fate would have it, the cost was money well spent.
“I’m so happy it’s out,” she tells me. “I’ve touched on this before but this project really is a melodical edition of my diary.” Indeed, the extended play is a body-of-work that’s not only deeply introspective, but also undeniably intimate – a phenomenon that the musician herself compares to standing naked in the street. “Not all music is like that,” she clarifies. “But when it’s really personal, there’s no other way to describe it.”
The EP’s daring lead single ‘Spiralling’ opens the project with a bang, utilising sporadic acoustics to soothe the listener after powerful drumbeats catch them off-guard.
Co-written by Jon Buscema in Los Angeles, it sees Sofia study the purpose of love, or the lack thereof. “I was playing the first couple lines to him [Buscema] and, where the drums now exist, I was just attacking Jon’s poor piano trying to explain the juxtaposing aggression I wanted,” she reveals, spotlighting her collaborator’s ability to make sense of the message she was trying to embed into the song. “The words were a diary entry I’d written on a plane, nearly word for word.”
In contrast, one of the EP’s standout tracks ‘Introspection’ takes on a less startling approach to contemplation, at least production-wise. Although seemingly more disciplined, it’s in no way or shape lifeless. If anything, it absorbs you into a cinematic universe where Sofia’s the main act.
“I don’t think I know how not to dwell,” she admits. According to her, you ultimately collect an array of thoughts and emotions whenever you write things down. Fortunately, Sofia has discovered a way to repurpose her ideas through songwriting: “I think if a song makes me cry, in the car or on the train back from the studio, I’ve freed myself from these thoughts living inside me and consuming me. I’ve put them somewhere,” she says.
Speaking of mulling over the things that once were, such intricate reflection often treads a line between much-needed catharsis and something that can very quickly become a tad bit overwhelming.
While some artists draw inspiration from their personal lives, others choose to safeguard their sense of self by using artistic monikers and alter egos as shields. When it comes to Sofia, the barrier between her artistry and personal identity is non-existent. “Otherwise I would have been an actress,” she jests. That is not to say that Sofia hasn’t explored other sources of tranquility, though.
Spirituality and religion play a big role in her music, with Sofia turning to God for solace on multiple occasions. “How fucking scary is all of this without something to believe in?” she observes.
In fact, Sofia has had her fair share of fears in life. One of those frights in particular saw her ring her friend Dave halfway through a mental breakdown to confess her lack of certainty in her artistic direction, to which he responded (in his “valley accent” as she puts it): “sweetie, no one knows what the fuck they’re doing.” To this day, Sofia looks back on that as one of the most important lessons she has learnt about herself in recent years. An inspiring sentiment for established artists and newcomers alike.
‘Women Who Love Too Much‘ is out now.