AURORA — „The Gods We Can Touch“ (Jan. 21, 2022)

NORWAY FLAG main                                                   AURORA — „The Gods We Can Touch“ (Jan. 21, 2022)
Kouzlo hudby AURORY historicky spočívá v její schopnosti kombinovat zasněné folk~popové aranžmá a lichotivé vokály s temnou, až znepokojivou lyrikou. Na svém nejnovějším celovečeráčku The Gods We Can Touch používá tento trik znovu a znovu.
„Exist For Love“ nejlépe vystihuje sentiment vyjádřený názvem tohoto alba — myšlenku lásky jako něčeho hluboce duchovního; nejblíže nebi, co máme na zemi. Těžiště písně začíná expanzivně („Říkají, že je válka / Mezi mužem a ženou“), ale brzy se přesune k intimnímu a osobnímu („A pak mě přijmeš / A všechno ve mně začíná být jak se patří“), kde vyniká. Zde nejen láska — ale i její vlastní hudba — zní jako ráj na zemi. Zde není pouhou hudebnicí, ale generačním talentem, schopným vytvořit proměnlivé jiné světy a s Bohem se můžeme dotknout étericky mistrovského díla.Aurora
Born: Aurora Aksnes. June 15, 1996 in Stavanger, Norway
Location: Bergen, Norway
Album release: Jan. 21, 2022
Record Label: Siren/Decca Records
Duration:     50:04
01. The Forbidden Fruits of Eden   0:41
02. Everything Matters   3:34
03. Giving in to the Love   3:01
04. Cure for Me   3:22
05. You Keep Me Crawling   2:59
06. Exist for Love   4:13
07. Heathens   3:45
08. The Innocent   3:28
09. Exhale Inhale   3:33
10. A Temporary High   3:23
11. A Dangerous Thing   3:36
12. Artemis   2:39
13. Blood in the Wine   3:30
14. This Could Be a Dream   4:09
15. A Little Place Called the Moon   4:11

The Gods We Can Touch review by Marcy DonelsonScore: ★★★★ 
Whereas her debut album, All My Demons Greeting Me as a Friend, was an introspective work, and follow~ups Step 1: Infections of a Different Kind and Step 2: A Different Kind of Human concerned broader humanity, Norwegian pop star Aurora Aksnes examines behavior through the lens of mythology on her fourth album, The Gods We Can Touch. She came up with the unifying idea after writing the electro~pop ditty “Cure for Me,” a song about divesting herself of shame (“I don’t need a cure for me”); it made her think of Panacea, the Greek goddess of remedy. AURORA’s next step was to rent a castle in the mountains to record the rest of the album (with longtime producer/co~writer Magnus Skylstad and others). Unexpectedly immediate and often warm and restrained despite its elaborate approach, The Gods We Can Touch mixes natural, live~sounding vocals and acoustic instrumental performances with ethereal processed harmonies, drum machines, synthesizers, and various programming.
Committing to a more spontaneous sound, songs including “Artemis” and “Exist for Love” were reportedly first takes. The sparse “Artemis” tells its seductive narrative with a Mediterranean flair that includes fingerstyle guitar and bandoneon as well as some of those otherworldly layered vocal harmonies (and Theremin). An album highlight, “Exist for Love,” is a more tender, likewise mostly acoustic, track that begins with the line “They say there is a war between the man and the woman.” It soon eases into a soaring, strings~swept melody as the singer professes her love. “Exist for Love” isn’t the only song here with a dreamy, almost ’40s Disney~like musical romanticism that contrasts with clubier synth~bass tracks to epic effect. Members of the latter category include “Temporary High,” a dark, post~punk~shaded outing that warns of fleeting affection, and the forbidden~love anthem “Blood in the Wine,” which channels a defiant electro~pop softened with piano and acoustic guitar. The album’s varied textures and elevated subject matter culminates in the four~minute outro “A Little Place Called the Moon,” which returns to a vintage, theatrical orchestral pop and leaves listeners on a magical note.
While The Gods We Can Touch is ultimately a pop record, it only expands upon AURORA’s already mystical bearing.
By Tom Williams⇔17 JAN. 2022, 15:55 GMT⇔Score: 9