The album “The Gods We Can Touch” by AURORA was released on Jan. 21. The album incorporates AURORA’s signature style with elements of pop, creating an overall remarkable album with a few songs that fall flat. Photo fair use of spectrumculture.com
Norwegian singer-songwriter AURORA released a studio album on Jan. 21 that allows listeners to ‘give in to the love’ of her vocals.
A loving earth goddess. The wrath of Artemis. The drunken revels of Dionysus. This isn’t English department teacher Erin Horton’s Mythology course, it’s the album “The Gods We Can Touch” by AURORA.
Aurora Asknes, known professionally as AURORA, gained popularity with her hit song “Runaway.” She released her third studio album, “The Gods We Can Touch,” on Jan. 21, which combines her traditional ethereal style with elements of electropop.
The album contains several songs that truly capture AURORA’s spirit, with a few songs that may fall short of fans’ expectations.
“The Gods We Can Touch” consists of 15 songs, including a short instrumental opening. AURORA’s distinctive fantasy-like style is still present in the album, but the album includes a variety of sounds. Some songs are fast-paced and more pop-heavy, while others lean towards a slow, folkloric approach.
The album contains several songs that truly capture AURORA’s spirit, with a few songs that may fall short of fans’ expectations.
The album includes an extensive range of themes, covering everything from feminism to love with grace. Each song is based on a Greek deity, with the theme showcased best in the smooth-sounding “Artemis,” which paints a beautiful yet defiant picture of the goddess.
The first lyrical song in the track, “Everything Matters,” which features a French verse sung by Pomme, is a beautifully slow and hypnotic track that showcases AURORA’s ethereal voice.
The album’s lyricism has the ability to truly imprint on the listener. “Danger in the boy that would lose control/when everyone thought he had a heart of gold,” AURORA sings in “The Innocent.” “The innocent life/the innocent touch/is never enough for the ones who love.”
“Heathens” is the highest point of the album, combining AURORA’s dreamlike style with the wild drums that give the album passion. The song is natural yet stunning, which fits the artist better than the heavily edited songs on the album.
Several songs on “The Gods We Can Touch” are catchy, but lack the traditional sound listeners may be looking for in the artist’s music. The pop sound is underwhelming compared to her usual fantastical folk style, and takes away from the album’s overall beauty. Some songs won’t satisfy listeners at all. “A Little Place Called The Moon,” for example, leaves listeners waiting, only to deliver flat and repetitive lyrics.
Despite these faults, “The Gods We Can Touch” is a wonderful addition to AURORA’s discography, and will enthrall new and seasoned listeners alike. The album can be found on most major streaming services including YouTube and SoundCloud.
