Ethan Ramon, frontman of LA’s genre-blurring newcomers, talks about their visceral debut single SWEAT.

The Sophs are a band built on contradictions. They’re musically tight but lyrically volatile, emotionally raw yet unafraid to be ridiculous, and on their debut single SWEAT, they deliver something that feels as theatrical as it is deeply personal. Led by singer and songwriter Ethan Ramon, the LA-based six-piece draw on emo, folk, bluegrass and alt-rock, a messy and often arresting mix that reflects the chaos of what they’re actually trying to say.

It’s not just the music that feels unfiltered. In conversation, Ethan speaks with a kind of jagged honesty that swerves from literary quotes to dark intrusive thoughts to heartfelt gratitude. He’s not interested in playing the tortured artist or the cool frontman, he’s just trying to be real. And somehow, that makes SWEAT hit even harder. Now signed to Rough Trade and playing festivals off the back of just two gigs, The Sophs feel like a band making a name for themselves without compromising their voice, or sanding down any of the weird, funny, abrasive edges that make them feel so alive.

For those unfamiliar with your music, can you tell us who you are, where you’re from and about the music you make?

My name is Ethan Ramon. I’m the singer for The Sophs, an LA-based band making off-rock music that dabbles in everything from bluegrass and folk to even emo (back when that word wasn’t essentially a slur).

Congratulations on your debut single “SWEAT”, it’s such an evocative, visceral track. What was going through your mind when writing it, and how did the song take shape musically?

“SWEAT” is a song that has been marinating in the vault for about two and a half years. It comes from an era of my life vastly different than the one I’m in right now. It kind of reminds me of that Lucy Dacus lyric from “Night Shift”:

“In five years I hope the songs feel like covers /

Dedicated to new lovers.”

They did. And, as far as “SWEAT” goes, despite the fact I don’t resonate with the song — or the person who wrote it — the fact I can still listen to it and appreciate it as a strong piece of music speaks to the quality of the record.

You’ve described “SWEAT” as a moment when emotions take over and swallow you whole. Do you often write from those raw, unraveling places?

I find a lot of burgeoning songwriters use language as the bricks in their self-indulgent crusade to build a holding cell around themself (if not for any reason than to complain about captivity) — which is the opposite of what we should be doing as creatives. Language is our biggest tool. Why use content, culture, context, etc. as a rulebook for what we should say?

That goes for artists who go against the grain for the sake of it, too. In an age where “the revolution” is basically just another subgenre of content, the most radical thing you can do is just talk about what you know best — yourself. Warts and all. Let your takes be full of contradictions and your love be tacky. Give the world your worst and let he without sin cast the first stone. Just be a real person, I don’t know.

Like, I once had a recurring intrusive thought about snuffing out my neighbor’s dog. So I wrote a song about it. Not to be edgy — just because, if I hadn’t written the song, I might’ve actually done it! You know?

The video for “SWEAT” has been called ‘Lynchian.’ How did you approach the visuals, and what kind of world were you trying to build around the song?

I may have used the word ‘Lynchian’ once when I couldn’t think of anything else. I guess the prosthetics do look a little “Eraserhead.” Other than that, we really just were operating on a tight budget and needed to find a way to get all the shots in one day.

Rough Trade doesn’t sign just anyone. What was that first conversation with them like, and how has the relationship evolved since?

Signing with Rough Trade is a dream.

You’ve mentioned that signing with Rough Trade felt ‘symbiotic’, how important was that sense of mutual trust and artistic freedom?

In various musical acts I’ve been part of over the years, I’ve been wined, dined and wooed by major and indie labels alike (Not a flex. Nothing ever stuck).

All that to say: the interpersonal relationship between you and your representation is crucial. Never before have I shook the hand of every single person from the mailroom up.

Rough Trade has taken a vested personal interest in the success of the band — and in me as an individual. And they’ve proven it not just through their attention, but by being willing to cut a check for a band that, at the time, basically didn’t exist.

You’re a six-piece band with a pretty varied setup. How do your different musical backgrounds and personalities feed into the creative process?

Everyone in the band has very different musical tastes — but we are all very good musicians, so that doesn’t really matter. Despite our personal preferences, we share a sort of common radar for what works and what doesn’t when writing and playing.

There’s a strong emotional throughline in your lyrics. Is songwriting more cathartic or confrontational for you as a band?

To me, songwriting is inherently selfish. I think most peoples’ is — they just delude themselves into thinking otherwise. The moment you sit back and say, “Wow, this song I wrote is really gonna help someone someday,” your genius is all but doomed to reach no further than the tip of your nose.

If I need catharsis, I write for catharsis. If I crave confrontation, I write for confrontation.

From your debut show to your upcoming spot at End of the Road, your live schedule is growing fast. What does a Sophs show feel like from the inside looking out?

As I’m writing this, we’ve only played two shows, so frankly I’m not informed enough to give a proper answer about what a Sophs show is like yet.

What was it like sending off that demo that caught Rough Trade’s attention? Were you expecting a response, or was it more of a leap of faith?

I used an email-finder website to skip the demo-submission address and go straight to Travis. I wasn’t expecting a response.

What do you love right now?

Ben Kweller
Spam Musubi
billy woods’ new album
Tiki Bars
Gabapentin
“I Saw The TV Glow”
The gym in my apartment
Nepo babies
Birthdays
Just hashing it out with people you don’t like because you’re young and really who cares

What do you hate right now?

Secrets
Teeth Veneers
Fluorescent lighting
Taxonomy
Instagram
Twitter
Mezcal
Columbus, Ohio
Indianapolis, Indiana
People projecting their mental illness onto me

Name an album you’re still listening to from when you were younger and why it’s still important to you?

I used to listen to Mitski’s “Bury Me at Makeout Creek” when I was fourteen.

That album hits something guttural in me. I know every song front to back. I still listen to it today when I’m crashing out. It makes me wish I could’ve been born a woman.

With SWEAT now out and a tour on the horizon, what’s next for The Sophs? Is there a bigger project in the works, or are you letting things evolve organically for now?

Yea, I don’t know if we’re allowed to talk about it but we have an album coming next year. Hopefully between now and then a bigger artist decides to give us a direct support slot.

Start Listening To: The Sophs