Sopa Boba announces electro neo classical debut – Based on ‘That Moment’ (2013) by Nicoleta Esinencu
Sopa Boba
The Belgian-Dutch project Sopa Boba, featuring G.W. Sok (The Ex), Jean Vangeebergen, and Pavel Tchikov (Ogives), will release their debut album, “That Moment”, on Sub Rosa on March 7, 2025. The album blends electro and neo-classical music, utilizing modular synths, a string quartet, and spoken word to create a unique soundscape.
“That Moment” adapts the 2013 eponymous text by Moldovan author Nicoleta Esinencu. It begins with a real incident in contemporary Moldova, where a father severed his child’s finger as punishment for stealing money from his wallet.
Esinencu uses this harrowing event to craft a narrative that critiques the pervasive influence of consumerism and systemic corruption in society. Through sharp irony and incisive language, she explores how these societal issues infiltrate both familial and political spheres, ultimately affecting the entire nation.
The line-up for the album release includes G.W. Sok on vocals, Pavel Tchikov on modular synths, Maritsa Ney on violin, Roxane Leuridan on violin, Nathalie Angélique on viola, and Eugénie Defraigne on cello. Stéphane Diskus contributed modular synths on tracks 1 and 5, while Timba Harris performed a viola solo on track 4.
The album spans 55 minutes, divided into seven tracks that act as chapters of this narrative. You can pre-order the album now on Bandcamp.
The first single, “That Sweet Moment”, is already available, accompanied by a live studio video.
Last week, Sopa Boba released a second single, “That Glee Moment”.
About Nicoleta Esinencu
Nicoleta Esinencu, born on December 17, 1978, in Chișinău, Moldova, is a prominent playwright and director known for her provocative and politically charged works. She studied dramatic writing at the Moldovan Academy of Music, Theatre and Fine Arts.
In 2005, Esinencu gained international attention with her monologue “FUCK YOU, Eu.ro.Pa!”, which critically examines post-communist Moldovan society and its relationship with Europe. The piece sparked significant controversy in both Romania and Moldova due to its candid and confrontational style.
To create a platform for alternative artistic expression, Esinencu co-founded Teatru Spălătorie (Laundry Theatre) in Chișinău in 2010. This independent venue became a hub for performances addressing pressing social and political issues in Moldova. Despite its impact, the theatre was forced to close in 2017, yet the collective continues to produce thought-provoking work without a permanent stage.
Throughout her career, Esinencu has participated in various international residency programs, including at the Akademie Schloss Solitude in Stuttgart and the Récollets International Accommodation and Exchange Centre in Paris. Her plays have been presented across Europe and translated into multiple languages, reflecting her influence on contemporary theatre.
Esinencu’s body of work is characterized by its unflinching critique of societal norms, nationalism, and the lingering effects of Soviet rule, solidifying her reputation as a voice in Moldovan and European theatre.
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