By Azzam Bilal 
HangupsMusic.com – London, The landscape of contemporary electronic music is frequently defined by fleeting collaborations and transient guest features, yet every so often, a creative partnership emerges that transcends the standard industry formula. Such is the case with TOMORA, the newly solidified duo consisting of Tom Rowlands, one-half of the legendary Chemical Brothers, and the ethereal Norwegian singer-songwriter Aurora. While their previous work together on the Chemical Brothers’ most recent studio albums, No Geography and For That Beautiful Feeling, hinted at a profound artistic resonance, their debut full-length project, Come Closer, marks the official birth of a proper band. This is no longer a producer-and-vocalist arrangement; it is a holistic fusion where Rowlands’ intricate, architectural soundscapes are inextricably woven with Aurora’s bewitching and often eccentric lyrical perspectives.
The evolution of TOMORA represents a significant chapter in the storied career of Tom Rowlands. For over three decades, Rowlands has been a primary architect of the "big beat" sound and a pioneer of stadium-filling electronic psychedelia. However, Come Closer reveals a different facet of his production prowess. While the rhythmic complexity and sonic density that characterize his work with Ed Simons remain present, there is a newfound delicacy and a willingness to explore the negative space between the beats. Much of this shift can be attributed to the presence of Aurora Aksnes. The Norwegian artist, known for her idiosyncratic approach to pop and her deep connection to folk and naturalistic themes, provides more than just a vocal track; she provides a narrative soul that grounds Rowlands’ more experimental tendencies.
The album opens a window into a world where the dancefloor and the dreamscape coexist. Throughout the tracklist, the duo navigates a wide spectrum of genres, ensuring that the record never settles into a predictable groove. One of the early highlights is "Ring The Alarm," a track that serves as a bridge between the heritage of the Chemical Brothers and the future of TOMORA. It is a high-octane electro-breakbeat missive, characterized by jagged synth lines and a propulsive energy that demands physical movement. Yet, even within this club-ready framework, Aurora’s voice acts as a guiding light, slicing through the industrial textures with a clarity that is both haunting and commanding.
As the album progresses, the "block-rockin’" heritage of Rowlands becomes evident in tracks like "My Baby." Here, the production takes on a progressive, almost "prog-electronic" quality, building layers of rhythmic tension that eventually explode into a cathartic release. It is a testament to Rowlands’ ability to maintain a sense of raw, analog energy in a digital age. Conversely, "Somewhere Else" takes a sharp turn into the psychedelic. It is a trippy, immersive journey that prioritizes atmosphere over traditional structure, allowing Aurora’s vocals to drift in and out of the mix like a recurring dream. It is in these moments that the "TOMORA" identity feels most distinct—a blend of British electronic grit and Nordic mysticism.
Perhaps the most striking achievement on the record is "I Drink The Light." Mercurial and brilliant, the track showcases a sophisticated understanding of dynamic shifts. It moves from moments of shimmering fragility to bursts of intense, saturated sound. It is a masterclass in modern electronic arrangement, proving that the duo is capable of creating music that is as intellectually stimulating as it is sonically pleasing. This leads into the album’s grand finale, "In A Minute," a closing banger that encapsulates the duo’s ability to marry pop sensibilities with avant-garde production. It is a triumphant conclusion to an album that refuses to play it safe.
However, to view Come Closer solely through the lens of dance music would be a mistake. Much of the album’s richness lies in its downtempo material, which draws from a surprisingly diverse well of influences. Critics and listeners alike will find echoes of the ethereal 4AD roster from the 1980s—think the Cocteau Twins or Dead Can Dance—where the voice is used as an instrument to evoke otherworldly landscapes. There are also undeniable parallels to Björk’s experimental mid-career work, particularly in the way Aurora utilizes unconventional vocal phrasing and rhythmic breathing.
In tracks that lean toward a "neo-folk" or "madrigal" aesthetic, the duo explores a sense of ancient storytelling. These songs feel like digital hymns, blending Sinead O’Connor-style laments with depth-charged digital dub. The influence of Nina Hagen’s experimental cabaret is also palpable in the more theatrical vocal performances, where Aurora pushes her range into unexpected territories. This internationalist approach is perhaps most evident in "Have You Seen Me Dance Alone?", a track that carries the genre-blurring spirit of a Gorillaz production. It feels global, incorporating rhythmic elements that suggest a wide array of cultural influences while remaining firmly rooted in the duo’s unique sonic identity.
The lyrical content of the album is equally compelling. Aurora has always been a songwriter who leans into the "kooky" and the surreal, often using nature as a metaphor for the human condition. On Come Closer, her words feel more enmeshed in the music than ever before. Whether she is singing about light, movement, or the isolation of the dancefloor, there is a sense of earnestness that prevents the electronic elements from feeling cold or clinical. The interplay between her organic delivery and Rowlands’ synthetic environments creates a tension that is central to the album’s success.
From a technical standpoint, the production on Come Closer is immaculate. Rowlands’ studio wizardry is on full display, with every bleep, thud, and shimmer placed with surgical precision. Yet, for all its technical complexity, the album never feels overproduced. There is a raw, live-wire quality to the recordings that suggests a high degree of spontaneity in the creative process. It is the sound of two artists who have found a genuine spark and are unafrolled to follow it wherever it leads.
Comparing Come Closer to the broader discography of the Chemical Brothers is inevitable, but the album holds its own against even the most beloved classics in that canon. It possesses the same innovative spirit that made Exit Planet Dust or Dig Your Own Hole so revolutionary, but it applies that spirit to a more mature and emotionally nuanced framework. It is an album that rewards repeated listens, as new layers of sound and meaning reveal themselves with each pass.
Ultimately, TOMORA is more than just a side project; it is a vital new entity in the electronic music landscape. Come Closer is a bold statement of intent, proving that even after decades at the top of their respective fields, artists like Tom Rowlands and Aurora can still find new ways to surprise and inspire. By blending the visceral power of the British rave scene with the delicate beauty of Norwegian art-pop, they have created a record that is both of its time and seemingly timeless. As the final notes of "In A Minute" fade away, it becomes clear that this is not just an exceptional work—it is a landmark release that sets a new high bar for electronic collaborations in the modern era. The partnership between Rowlands and Aurora has moved beyond the guest-vocalist phase into something far more permanent and profound, and the world of music is all the richer for it.