SOPHIA
"Deconstruction of the world" CD Reviews
From the Side-Line Magazine (Belgium)
The duo Peter Bjärgö – Stefan
Eriksson aka Sophia are back with a new full length. Their dark ambient
sound remains a fascinating experience throughout the inner depths of
our soul. Their taste for dark electronic ambient leads the listener
into a virtual state of schizophrenia, like entering into a world with
different kinds of perception. The cold and anguishing tracks come to
feed our imagination with surreal pictures, touching our adrenaline
and getting us in a state of angst. A few tracks contain some spooky,
background vocal parts, which only reinforce the stupor at listener’s
side. There’s a sort of bombast percussion merged with an orchestral
input, which create a kind of dramatic expression. The “Humanicide”-cut
brings us to the edge of ritual stuff, delivering a real cool track.
A few other cuts like “Contrition” and “The end of
the age” and “Unperturbed” are one after one icy,
chilling masterpieces. This is definitely one of the best releases coming
from the hands of Sophia!
From the Shedivine webzine (Spain)
This time Mr. Peter Bjärgö comes with
Mr. Stefan Eriksson (Arcana collaborateur) and an absolute marvel under
his arm. After the initial and ambient "The End of the Age"
the next "Machine" is simply demolishing, with that combination
of colossal orchestrations and predominating heavy percussions in crescendo,
then there is an alternation between tremendous orchestrations and dark
industrial soundscapes, and the images and resources are really varied:
you can notice the superb orchestrations in the initial cataclysm and
humanicide and subsequent impositions of the new world, the new salvation,
the definitive contrition; those silent and tense pauses and the marked
industrial rhythms and confusion after the initial shock; the dark ambiences
that clarify us how our world now is... In moments the orchestrations
and industrial percussions are so strong that the grandeur of the music
becomes overwhelming. Several forms to see and describe how a world
comes down under the martial discipline of SOPHIA and how after the
monumental and thundering hecatomb all those ambiences, industrial sounds,
speech and voices samples... reflect the darkness, devastation and agony
that last or survive under all those crumbled ruins and the new established
rituals. Among orchestrations, military percussions, commanding vocal
and dark ambiences SOPHIA pull all down to build a new and decadent
future after the downfall of the present-day empire. Magnificent. GLOBAL
GRADE: 9,5/10
Review by Héctor Noble Fernández.
From the Ikonen Magazine (Germany)
Die schwedische Gruppe Sophia um Peter Bjärgö
und Stefan Eriksson machte sich mit nur wenigen Tonträgern auf
dem Cold Meat Label einen Namen als eine der versiertesten Neoklassik/Military-Bands.
Mit schwer stampfenden und hämmernden Beats sowie elegischen Streichern
kreierten sie auf Herbstwerk ein Meisterstück synthetischer Apokalypse-Soundtracks,
das in unverhohlenem Pathos vom Ende der Welt zeugte. Mit Deconstruction
of the World, einem Album, das zunächst auf Vinyl erschienen war,
vollzogen Sophia den Schritt aus der kalten Heimat nach Kanada: Zu dem
inzwischen gut etablierten Ambient-Label Cyclic Law, das ihr neues Werk
gleich im überformatigen, monochromen Faltkarton präsentiert.
Statt sich auf den üblichen Stil zu verlassen – also militaristisch
aufgemotzen Neoklassikbombast – hat man hier das Spektrum gleich
in mehrere Richtungen erweitert: Einzelne Tracks bieten finstergrollende
Ambientmusik, durchsetzt von geheimnisvollen Samples und Stimmen, dann
wieder erklingen die erwarteten Bombastausbrüche, um diesmal schließlich
in raue Gesangpassagen (2, 9, 11) zu münden. Man will offenbar
verstanden werden und bietet nun eine vielfältige Reise durch unser
agonales Universum... Diesmal sogar mit tanztauglicher Qualität.
From the Heathen Harvest webzine (U.S.A)
Sophia is a well known name amongst most post
industrial music enthusiasts. Those of us who actively listen to martial-orchestral
/ industrial music have come to covet Sophia as one of the most brilliant
of lights in the darkened abysmal recesses of martial industrial music.
Some readers who also subscribe to the Radical Faerie magazine RFD may
remember that Heathen Harvest featured Sophia's first full length album
“Herbstwerk” within the debut publication of Heathen Harvest
in RFD. Sophia has released three albums since we last reviewed their
work. Following “Herbstwerk” Sophia released the CD recording
“Spite,” “Seduction of Madness,” and the most
recent full length album “Destruction of the World.” The
sound of Sophia has wandered and evolved since Herbstwerk so I invite
you to join me as we revisit the musical mastery of Sophia! If asked
to describe the overall experience of Sophia I would be compelled to
try and convey the image of the dark side of the human psyche in all
of its complexity and terror being captured and represented musically
with all the power and grandeur of an industrialized orchestra. Sophia
makes no apologies for invoking rebellion, resistance, war, prejudice,
anger, and even murder. Like a Wagner and Ted Bundy love child Sophia
unites the opposing forces of orchestral grandeur and human deprivation
in a seamless vision of cataclysmic proportions. For their new album
“Destruction of the World” Sophia has notably expanded to
include the participation of Stefan Eriksson alongside Sophia founder
Peter Bjargo. Stefan's contributions and collaboration can be heard
on six of the eleven songs that comprise “Destruction of the World.”
Additional bonuses include the very first ever Sophia video. Track eleven
titled “Depravity” plays on the stereo and also produces
a quick time video when played on a computer. In addition Sophia has
also created the bands first DVD size CD packaging that dresses the
music of Sophia in a new stark and cryptic packaging that completely
compliments the music and the overall theme of the album. “Destruction
of the World” is definitely Sophia's most elaborate attempt so
far at communicating the bands vision. As the title suggest “Destruction
of the World” is focused upon the theme of mankind bringing about
its own demise through greed, politics, and disregard for the rest of
the natural world. The album begins with “The end of the age”
which features a sampled spoken word conversation in which a man discusses
the inability of the earth to maintain its ecological balance in the
face of mankind's industrialization and modernization. The sampled voice
is supportive by a delicate track of sinuous drones and industrial rumblings
and grinding metal. The opening track is very reminiscent of the beginning
of “Spite” as it builds the same tension and offers a graceful
and light introduction to a rather intense album. Indeed by the end
of the introductory track you might actually feel clam and reflective
as you reflect upon the demise of human kind. The time allotted the
listener for reflection is brief as Sophia quickly redirects the music
in “Machine.” “Machine” abandons the balanced
ambience of the introductory track and launches the listener into a
demonic orchestral glory driven by thundering ritual / martial drums.
The music pours forth from the speakers like a monstrous storm breaking
across the open plains. Nothing can resist the outpouring of industrial
power that backs Peter's voice as he gives voice to our collective anger
and resistance. Peter's voice rises from deep within the music as he
sings and chants “I will not feed their machine, I will not participate
in their ways!” “Machine” is followed by “Downfall”
which captures the collapse of the last bastions of mankind's hope and
faith. Orchestral instrumentation and quaking drums swirl in an apocalyptic
epic that is driven by horns and military marching drums. “Downfall”
ultimately leaves the listener reduced to a mere witness of the ultimate
and total decimation of everything that hold us back from our collective
abyss. “Condescension” follows with minimalist rhythmic
industrial power electronics supporting the clanking of gears and the
squeal of bare metal rubbing against metal. Strange whimpering and random
samples are paraded through the music deepening the listener's sense
of isolation and vulnerability. Indeed “Condescension” delivers
the goods leaving the listener buried under the full force of Sophia's
disdain. “Humanicide” interrupts the nightmarish soundscape
of “Condescension” with intimidating horns and drums that
turn over to a fierce industrial rhythm that punches through the speakers
like mortars. Drums and looped horns meld with the pounding rhythm in
a driving assault that brutalizes and immobilizes all that stands in
its way. Liturgical male chanting is melted in briefly before Stefan
begins his excellent vocal attack. Singing with strength and restraint
Stefan gives “Humanicide” a brutal and poetic narrative
that compliments the music. “Soiled” follows with tense
ambient drones overlaid with incoherent and manipulated whispering.
The sensation is one of self consciousness and paranoia induced by the
music. The ambience builds in tension and concentration as the incessant
whispering infects your security. When you feel as if the entire universe
is whispering and conspiring against you the tension is broken by rhythmic
industrial percussion and an insane vocal squealing that is eerily inhuman.
“Severed” offers the listener another chance to recover
from shell shock with a gentle and delicate composition of droning dark
ambient tinged with the occasional treated voice sample.
“Contrition” follows “Severed” and the song
easily demonstrates that it deserves its name. “Contrition”
invokes similar feelings and emotions as it predecessor “Downfall.”
“Contrition” communicates the despair and remorse that comes
when forgiveness has come too late. Hitting at the heart of human conflict,
allegiance, and devotion “Contrition” explores what is felt
when amends are made after revenge has been taken in blood amongst men.
“Unperturbed” begins with sporadic drumming and a combination
of multi pitched drones some of which approach a piercing level. The
song communicates a sense of blind resignation as it slowly builds to
include thundering industrial percussion and martial drumming. Peter's
voice is buried and heavily distorted and the majority of the lyrics
are very hard to make out. There is an easily distinguishable phrase
“I would rather die” which reflects the severity of resistance
communicated by Sophia. “Aftermath” begins with the now
familiar squealing metal and industrial machine rumblings followed by
disjointed drums, air sirens and an orchestral anthem that recalls victory
in the ashes. “Depravity” is the last song on the album
and aside from “Humanicide” it is the only other song to
feature text written by Stefan. The song begins with long extended crackling
drones and sampled voices that are imbedded in the darkness. Somber
drums play and pause in a majestic recital of epic proportions. Stefan's
heavily distorted voice drops in and out of the music compelling yet
scant. “Destruction of the World” ends on an equally subdued
note as it started.
“Depravity” as mentioned earlier in the review can also
be played on a home computer that has the free software product QuickTime.
The video is disturbing collage of vintage footage of psychiatric patients
and vintage coroner video footage. These two video subjects are spliced
together in a very disturbing short film that is accompanied by the
song “Depravity.” I was impressed by how effectively the
video enhanced the music of Sophia and how quickly I became uncomfortable
with the subject matter. Indeed this combination of Sophia's music and
video is hopefully a sign that other artists in the industrial music
arena will begin combining music and video to expand the artistic assault.
From confrontation to victory and on through remorse Sophia has captured
the entire spectrum of human glory and decay. “Destruction of
the World” is the new soundtrack of the apocalyptic future of
mankind. Embodying the mindless destruction caused by man and the madness
that consumes the destroyer Sophia has delivered an album that will
not soon be eclipsed. Heathen Harvest highly recommends Sophia “Destruction
of the World” to all fans of dark industrial music. Regardless
of where your allegiances lay within the vast spectrum of industrial
music if you like your music dark, majestic, authentic, and honest then
Sophia will not fail you. The uninitiated may be intimidated by my description
of Sophia but if you have an open mind and a reasonable imagination
then trust me that Sophia will transport you delicately into the eye
of the storm. Sophia is a very coveted artist at Heathen Harvest and
we encourage all of our readers to find out for themselves why this
band has risen to such prominence. As for application and use concerning
ritual and other matters; Sophia “Destruction of the World”
will be welcomed amongst those engaged in psychick and or magickal combat.
If you are activaley seeking the overthrow of a current paradigm, social
/ political force, personal demon or enemy seek out Sophia as a soundtrack
for your battle and victory. Be wise as to what you send for it will
return three times the stronger. Fight on brothers and sisters and may
Sophia be your charging call!
From the Phosphor Magazine (Germany)
The latest Sophia release comes in a beautiful,
oversized fold out cover, reminding of other Cyclic Law releases, such
as the recently released album The new light by Arcana.And to be honest,
the music on Sophia's 7thopus deserves it. Peter Bjärgö has
this time joined forces with long time friend and Arcana collaborateur
Stefan Eriksson. The both of them present a musical pearl in beauty,
darkness and bombast. The mood is more martial and threatening compared
to previous Sophia releases. Each track breathes a slightly different
atmosphere, ranging from ambient to noise, though always in the industrial
domain. The tracks fit each other nicely. This rich variety even enriches
the latest album by this duo. Bombastic rhythms, suitable for a pagan
dance party, are followed by pulsating noise, Laibach or In Slaughter
Natives-like atmospheres, powerful orchestral hymns or dense, eerie
soundscapes.
Whatever direction these rich melancholy atmospheres take, they are
always omnipresent and impressive. So, it's clear that such a staggering
piece of work deserves a beautifulpackaging. A great follow-up to the
limited edition LP released several months ago, reconfirming Sophia's
uniqueness.
From the Gothtronic webzine (Holland)
This release really looks amazing in this nice
paper map with splendid artwork and photomaterial shot by Peter, his
wife Ia and others.On this cd Peter Bjargo works together with Stefan
Eriksson. The cd is stilistically not new, but goes further where Peter
left off with ‘Spite’ and in fact, is working towards from
the early beginning, only to really grow and shine with the ‘Spite’
release. The music however is more varied than on ‘Spite’.
There is more opportunity for experiment and softer moments on ‘Deconstruction
of the World’. All percussion is again acoustic and is performed
in a military sort of way, militant rhythms and bombastic orchestration
sometimes make place for more tranquil dark ambient tracks. Industrial
rhythms and singing by monks, influenced by the old In Slaughter Natives
go well together with samples from horrormovies and machines, through
which a cold and sinister atmosphere is created. ‘Machine’
probably is the highlight of the album, with it’s overwhelming
neo-classical bombastics, fierce drumming and militant singing of Peter
himself. ‘Downfall’ too, but different. It sounds like this
track is from the times of ‘Herbstwerk’ or maybe even ‘Sigillum
Millitum’. ‘Condescension’ is more experimental, with
a layer of noise, frightful voices and sounds of squeaking and scratching
metal objects play a sinister game. ‘Unpertubed’ sounds
similar, but after a while the well known military and steel percussion
kicks in too. ‘Aftermath’ lets us hear symphonic sounds,
next to industrial sounds and a siren. This new cd of Sophia may not
be as powerful and grotesque as ‘Herbstwerk’ but is musically
speaking much more challenging and varied.
SOPHIA "Deconstruction of the world" LP Version Reviews
From the Funprox webzine (Holland)
Really a fantastic looking release on the Canadian
Cyclic law label. The vinyl version of the new Sophia album comes in
a splendid looking gatefold sleeve, with great photos. There is also
a nice poster included and the record is pressed on thick clear vinyl.
A cd version of 'Deconstruction of the world' will be available in June.
The record contains 10 tracks, on some of which Peter Bjärgö
collaborates with Stefan Eriksson. It contains both older unreleased
material als well as new songs. If you are familiar with the work of
Sophia you will certainly be pleased with this new album. It contains
both atmospheric tranquil pieces, like the title track, as well as the
heavy bombastic industrial material they are loved for, with hammering
percussion and orchestral elements. The music often conveys a warlike
impression. My favourite pieces are probbaly 'Contrition', 'Downfall'
and the In Slaughter Natives-like 'Machine'. A convincing and powerful
record in a splendid packaging. HD
From the Guts of darkness webzine (France)
Le nouveau Sophia est une pure tuerie. Autant
le dire d'entrée, comme ça tout le monde est prévenu
! Pour ce nouvel opus sorti sur le label québécois Cyclic
Law (à suivre de très près !), Peter Bjärgo
(exit Petersson, monsieur s'est marié et a pris le nom de sa
douce) est ici accompagné par un certain Stefan Eriksson, ami
de longue date et collaborateur actuel d'Arcana. Et le résultat
est carrément hallucinant : 'Deconstruction of the world' est
LA bande-son de la fin du monde, un requiem pour l'humanité entière.
Si à la première écoute on se retrouve dans l'univers
familier de Sophia,à savoir une musique très symphonique,
ambient et industrielle se réclamant pour grande part du génial
In Slaughter Natives, on ne tarde pas à se rendre compte que
l'on assiste à un grand moment où temps et espace se figent.
Véritable synthèse entre les travaux les plus bruts de
Sophia sur le premier album ('Downfall', 'Contrition') et ceux plus
durs et indus de 'Spite' (le génialissime 'Machine', les terribles
'Humanicide' et 'Unperturbed' qui font penser aux Swans dans une période
très sombre), ce bijou n'oublie pas pour autant les atmosphères
étranges et étouffantes ('Condescension', 'Severed', le
très inquiétant 'Soiled'). Tout n'est que déclin
sans espoir de rémission et on ressort difficilement de ce dernier
voyage, perturbant et angoissant à souhaits. Loin de se répéter
inlassablement, Peter Bjärgo insuffle une nouvelle vie (je devrais
plutôt parler de non-vie vue la thématique
nihiliste de cet album) à son projet, décidément
l'in des plus jouissif à l'heure actuelle. L'artwork du lp est
de plus magnifique (la sortie du cd est prévue plus tard dans
l'année), très glauque et le poster inclus imprimé
sur un papier granuleux du plus bel effet. S'il faut passer pas un effondrement
mondial pour obtenir un tel chef-d'oeuvre, moi je vote pour
immédiatement : sans aucun doute le meilleur album de la fin
2003 avec le Raison d'Etre. January 2004 note 6/6
From the Infratunes webzine (France)
L'univers chauchemardesque de Sophia revient à
nouveau hanter nos grises journées avec Deconstruction of the
world. En attendant la version cd, qui devrait arriver incessament sous
peu, c'est un vinyl que nous présente le label canadien Cyclic
law. The end of the age ouvre la bal avec son dark-ambient, typiquement
suèdois, qui, comme une introduction, nous invite à pénetrer
dans les tunnels oppressants qui mènent vers la lumière
gelée du dehors. Et, comme pour briser le semblant de quiètude
qui venait de s'installer Machine semble vouloir déchirer l'espace
et déclarer la guerre totale au reste du monde. Voix monochorde,
atmosphère lourd et chargé d'éléctricité,
porté par une rythmique assenée avec la douceur de coup
d'une masse d'arme. Chaque titre qui se termine annonce la fin d'un
chaos difficilement supportable, précedant un autre, puis encore
un autre. Downfall semble tout droit sortit de Sigillum militum, le
premier album du groupe. Orchestrations symphoniques guerrières
ou épiques, rythme martial terrifiant et occupation de l'espace
sonore, orgiaque et démesurée. Parfois on se surprend
à imaginer des scènes d'affrontement, d'immensité
vierge de toute humanité, envahie et investie de toute part par
le virus combattant. Comme un rituel vers le sacrifice et l'accomplissement,
Humanicide tétanise l'auditeur grâce à un savant
mélange de choeurs militaires, de groove indus machinal et incessant,
et d'une déclamation proche de celle d'Aldenon Satorial de Coph
nia. Des visions de monuments en ruines, de tôle rouillée,
de murs de pierres couverts de salpêtre et de no man's land inhospitaliers,
ravivent sans cesse la sensation de réclusion et d'emprisonnement
évoquée ici. En face B, Contrition et Aftermath se détache
du lot, grâce à leur construction atypique, empirique et
tendue. La deconstruction du monde mise en musique, vous en rêviez,
elle est là. Sophia affirme son style et se détache enfin
un peu de la bulle protectrice de Cold Meat Industry, pour développer
encore un peu plus son approche si personnelle de la musique atmosphèrique
la plus noire qui soit.
From the Aural Pressure webzine (U.K.)
This is Sophia's first release since Peter Bjärgo's
'departure' from Cold Meat Industry, bringing Arcana with him to his
own musical realm Erebus Odora - making a departure with this release
under the helm of Cyclic Law of Canada. Sophia, in my humble opinion,
is far superior to Peter' main project Arcana. With "Deconstruction
of the World" he is joined by fellow Swede Stefan Eriksson.
Beginning the album is an enchanting instrumental piece 'The End Of
An Age' featuring strings and industrial clanking and grinding beneath.
An American male voice is sampled, blending into the mix. There is definitely
a latent, explosive element, waiting to make its presence felt. 'Machine'
moves straight into the Sophia you've been waiting for. Bombastic, neoclassical
with thundering drums overlayered and Peter's husky voice over. 'Downfall'
features rich military percussion, horns and bombastic drumming, harkening
to strings. This is a stunning track - very similar in style to their
debut album "Sigillum Millitum" or the glorious "Herbstwerk".
Simply breath-taking. 'Condescension' begins with deep throbbing electronics
and a disturbing female voice. There are creaks and laughing. This is
a less bombastic and more experimental piece than I've heard from Peter
before....and it ends just as quickly as it begins. An odd inclusion.
'Humanicide' is very In Slaughter Natives sounding. More metallic drums
take precedent and there is Gregorian chanting under along with strings.
Peter's threatening, whispering vocals make another appearance becoming
more excited and there's even harmony at one point. This piece is very
rhythmic and short.
Side 2 opens with 'Soiled'', bringing to mind the tracklisting on "Spite".
Whispering voices are layered over sleepy strings, abruptly woken by
rhythmic drumming and hissing samples. This song has a very industrial
feel to it, but in a lighter manner. 'Severed' begins with a subtle
clicking sample, underpinned with lush dark ambient drones, feeling
their way along the dark edges. There are short, distorted samples,
joined at one stage with some pecussion. A slight pause and we're into
'Contrition'. This is Sophia on fine form! Dark, brooding, chunky rhythms
then into some very "Herbstwerk" neoclassical bliss. Very
pronounced percussion and more horns - a fantastically powerful piece.
'Unperturbed' opens with various strings and a fine drone. It gets more
rhythmic with some drumming involved, along with a laughing child. Peter
makes another appearance on vocals. I absolutely love this piece! 'Aftermath',
begins with some nautical horns then into some full orchestral majesty
with clanking to disrupt the regality of the occasion. A poignant finale.
Well, it's definitely a departure from the solid, thundering Sophia
sound; and I have to say that I prefer Sophia as an instrumental outfit
rather than with the vocals - this brings it a lot closer to the style
of Arcana or In Slaughter Natives. It doesn't quite hang together as
well as "Spite" or "Herbstwerk" and I am a massive
fan of the Sophia which produced these excellent releases. Still, it's
powerful stuff and, while more varied than the other Sophia releases,
still storms its way into one of my top releases of the moment. This
is all superbly presented in a gorgeous gatefold clear vinyl edition
of only 500 with a textured A2 poster of the album artwork. Get this
little gem while you can! JLM