Before Coachella, Tomora wasn’t on my radar at all. It was actually quite by chance that I came across them – I opened the wrong stream because my TV was running slow like MFER. I stopped for a few moments, mesmerized by the sight of two ethereal Nordic women holding on to giant drums to a techno beat. I made a mental note to check them out the following weekend, since Drain was priority (especially since the Sonora stage wasn’t streaming on another weekend). Only later did I learn that Tomora was a collaboration between Norwegian singer-songwriter Aurora and Tom Rowlands, one half of the Chemical Brothers.
Suffice it to say, they were incredible, and I immediately checked the records, come closer, After watching their second week’s set. Of course, a studio album can’t fully capture the ecstatic catharsis of a Coachella set (seriously, I need to see them live), but it’s still an incredible feat. It is a love letter to 90s European dance music, incorporating big beat, trip hop and techno.
After beginning with a series of haunting overlapping vocal drones, the title track begins, accompanied by an abstract jumble of synths and Aurora chanting “Come closer to me”. The song builds slowly, changing very little until about 1:55, at which point Aurora makes a wordless plea for human connection. Then the whole thing resets, and we get another build to the song’s climax – Aurora’s stunning vocals playing over Rowland’s buzzy electronics.
This is followed by the trip hop-inflected “Boy Like You” before finding full rave mode on lead single “Ring the Alarm”. The relentless harmonies, exquisite side kicks and bass beats, as well as the eccentric vocal performance make it an instant classic. “Ring the Alarm” may already be my most played song of the year, and I’ve only been listening to the album for two weeks.
“My Baby” and “I Drink the Light” feel like classic Chemical Brothers psychedelic acts meant for pop radio, living comfortably alongside “Let Forever Be,” “Wide Open” and “Setting Sun” in Rowland’s catalog. Unlike live shows, Tomora mostly stays in this lane on records. The songs may be danceable, but they’re rarely bangers. Sometimes, they get even thinner, as in the Massive Attack-esque “The Thing”. They leave plenty of room for Aurora’s harmonies and transitions.
“Somewhere Else” and “In a Minute” are the only other pure four-on-the-floor raisers. But they both are the highlights of the album with great melodies that get the beats pumping. I challenge you not to dance too hard to these songs.
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