A haunting and gradually unfolding expression of anger, clarity, and release, “All the things that aren’t you” represents Sophia Hansen-Knarhoi at her most visceral – an enchanting and turbulent confrontation of voice, cello, and genuine emotional depth, serving as a stunning highlight from her darkly captivating debut album ‘Undertow.’
There’s a pivotal moment, two minutes into “All the things that aren’t you,” where calm transforms into something monumental. Until that point, the song barely exists: just aching oohs, chilling cello pulls, and the gradual build-up of an impending storm. It feels akin to holding your breath underwater – suspended, weightless, anticipating the moment of emergence. And when that moment finally arrives, as Sophia Hansen-Knarhoi articulates her first words, the effect is overwhelming. This song lingers; it shadows you from the dim recesses of your own memories. Deeply reflective, brutally honest, and completely unfiltered, “All the things that aren’t you” is less of a song and more of a confrontation – intimate, visceral, and utterly consuming.
Atwood Magazine is excited to premiere “All the things that aren’t you,” the fourth and final single from Sophia Hansen-Knarhoi’s stunning debut album, set to be released tomorrow (November 14th) through Ba Da Bing! Records. Co-produced by Hansen-Knarhoi and Randall Dunn, Undertow creates a stark, physical realm grounded in voice, cello, field recordings, and the raw emotional truths that inspire the London-based composer and singer/songwriter. Following previous singles “Crying in Pastel,” “My Mother and Me,” and “Afraid,” this latest release represents the album’s most intense exhale – a slow outpouring of anger, clarity, and liberation.
Hansen-Knarhoi offers an unflinching perspective on the song, saying, “This track encapsulates a moment of anger, a realization of being treated in a way that solely benefited the other person, with no regard for mutual connection, and an acknowledgment of this as a repeating pattern from the past. It evokes a sense of freedom through this awareness of neglect.”
Her fury resonates vividly in lines that strike like blunt force:
On my way to heaven
I hope you die first
I want to feel wild
You make me feel mild
Each word is intentional, delivered slowly and thoughtfully, as if she’s etching them into stone. The atmosphere of the song is alive with elements of nature and memory. She elaborates, “Set against the backdrop of a field recording from a violent storm, the cellos intertwine in glissandos. There’s ample space for the field recording’s ambiance, with distant ‘oohs’ evoking a feeling of nostalgia, a wandering thought before a sudden clarity hits. The field recording was captured during a powerful storm; as I recorded from my windowsill, a tree across from me was struck by lightning and ignited.”
It's as if the surroundings are complicit in the outrage – rumbling, burning, and foreboding. When the lyrics finally land, they arrive with both strength and elegance – revealing bare teeth poised for something beyond mere retribution.
Hansen-Knarhoi continues, “The incisive lyrics come in forcefully and with grit, emphasizing their dramatic impact and fueling the fervent delivery. The vocal melody dances alongside the cello glissandi, where whispered portions of the lyrics and impactful echoed backing vocals enrich the experience. The double bass feels as if it’s immersed in the world of the rumbling thunder.”
Forgive me I’m ruthless
When it comes to you
And when I say I want to be alone
I don’t think that’s true
I want to be surrounded
By all the things that aren’t you
The interplay between voice and instrument is central to her artistry, yet here it feels especially palpable – as if the cello is not just accompanying her but mirroring her, breathing alongside her, preparing for the impact. Its deep, resonant scrapes churn like emotional undercurrents, imparting a heavy sense of weight to the song; every glissando rises like a shiver along the spine, every bow stroke striking with the force of buried emotions surfacing at last. In this piece, the cello embodies vitality – not merely decorative, but essential – a second voice that growls, trembles, and resonates in harmony with hers. It forms the landscape through which the song navigates, the storm front against which she sings, embodying what the lyrics have yet to express.
“The cello is often regarded as the instrument closest to the voice,” Hansen-Knarhoi shares. “This perception deeply influences my practice, revealing the connection between voice, cello, and body. The physical manifestation of this combined approach fosters a sense of tangibility in my sound. I strive to be intuitive, allowing my playing and singing to be guided by my breath and bodily movements
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A haunting, slowly unfolding release of anger, insight, and emotional release, “All the things that aren’t you” showcases Sophia Hansen-Knarhoi at her most raw – a captivating, turbulent confrontation of voice, cello, and deep emotional authenticity, serving as a stunning standout from her beautifully dark debut album ‘Undertow.’