Sorry that I’m late for the party, I think I have Long-Covid. The only way that I manage to keep awake is by drinking coffee. Here is my ☕ coffee-fueled ☕ late review:
The Gods We Can Touch
In 2020 France 24 called it the ‘Revival Of The Occult.’ In 2022, I would say that is more like acceptance of the occult. Nowadays, it can be perceived as an aesthetic, a trend, a tool for self-reflection, a necessary and accepted practice for some. Call it what you want; its presence is already acknowledged by pop culture. The implicit esoteric movement of the XXI. We are looking back to paganism and the occult, challenging misconceptions and thinking about the psychological and philosophical lessons behind old spiritual practices 👻.
In her introduction to the new album, ‘The Gods We Can Touch,’ Aurora yearns for a more human expression of theology. Without going into detail about her personal beliefs, she communicates this idea of vulnerable deities. As an example serves Greek Mythology. Aurora reflects on the Greek Gods and how the divisions and ranks between them were more approachable in nature, explaining that each one has a particular field ‘… They are good at.’
While the short video works well as an introduction. With or without introduction, all the songs are written with complex meanings that are faithful to the album’s theme. As poetry does, Aurora works her way to explain human emotions that are otherwise hard to put in words.
‘Everything Matters’ is the song that follows the opening ‘The Forbidden Fruits Of Eden.’ With a picking guitar and haunting voice, it echoes the simple message:
‘You’re part of the dawn where the light comes from the dark
You’re a part of the morning
And everything matters
And we are, an atom and a star
You’re a part of the movement
And everything matters.’
My favourite from the album is ‘Cure For Me.’ The most electronic of all. The rhythmic beat can make you sing along to ‘… But I don’t need a cure for me,’ with a hedonistic smile.
The whole album pays homage to the esoteric that lives inside of all of us. It is a refreshing take of mythical symbolism and makes the musical album unique within its kind. The Gods We Can Touch ends with an ‘A Little Place Called The Moon.’ Half of the nightsong comprises Aurora’s bewitching humming and vocalisation accompanied by an acoustic guitar, then it finalises the album by saying:
‘Like a dream about to bloom
We are going to the moon
Like a dream about to bloom
We are going to the moon
Like a dream about to bloom
We are going to the moon…’ 🌚
