Aurora - The Gods We Can Touch

Having built upon the baroque synth-pop of her debut with a follow-up two-part second LP, Aurora’s celestial spark has remained her calling card, one that shows no sign of dimming with ‘The Gods We Can Touch’. Where the multi-layered, near operatic scale of her second played with an increasingly diverse sound, her latest cut toys with a cross-section of styles, seeing Latin rhythm (‘The Innocent’) nudge shoulders with the scream-splattered Ennio Morricone-esque ‘Blood In The Wine’ and slumbering ‘50s lullaby ‘A Little Place Called The Moon’. Aurora is at her most sonically fluid to date, jumping between states with a frivolity that is the album’s main draw, each track a detour into its own independent realm populated by various esoteric characters of Greek myth - an escape from reality that finds form via hypnagogic highlights ‘Cure For Me’, ‘Exhale Inhale’ and the Cranberries-veering ‘Giving In To The Love’. Tightly paced electronic seams blur with floating chamber pop and global influences, warding off any sense of inertia on an album that has one foot in the worldly and another in the firmament.