Album Review: "From Ruins" by TomA – A Journey Through Abstract Electronic Soundscapes
Released in 2009 on the Canadian label Scotch Tapes, From Ruins is an intriguing dive into the experimental side of electronic music. TomA, a name that might not ring bells for mainstream listeners, crafts a sound that’s equal parts abstract and leftfield, with moments so raw they feel like sketches plucked straight from his studio floor. The album doesn’t aim to please everyone—it challenges you, nudges you out of your comfort zone, and leaves you wondering what exactly you just experienced.
The tracklist reads like fragments of thought: "Some Cities," "Caroline," "Airfield," and others, each carrying its own cryptic vibe. Two tracks stand out as particularly memorable, though. First up is "Two." It's this eerie, pulsating piece that feels like walking through an abandoned factory at night—cold echoes bouncing off walls, faint hums of machinery still running. The rhythm shifts unpredictably, almost like it’s daring you to find stability in chaos. You don’t, but that’s kind of the point. It sticks with you because it refuses to be pinned down; every time you think you’ve got it figured out, it veers off into something else entirely.
Then there’s "Someday Superman." This one hits differently. It starts slow, almost hesitant, like someone trying to gather their thoughts before speaking. But then layers build—synths swell, beats stutter—and suddenly you’re swept away by this strange sense of hope tinged with melancholy. The title itself hints at longing, maybe even unfulfilled dreams, and musically, it mirrors that tension beautifully. By the end, you're left feeling both uplifted and unsettled—a rare combo that lingers long after the final note fades.
TomA’s ability to blend genres without losing cohesion is impressive. While some tracks lean heavily into experimental weirdness ("Star Wars" anyone?), others offer more accessible textures, creating a dynamic listening experience. Sure, not everything lands perfectly—there are moments where things feel a bit too disjointed—but isn’t that part of the charm? This isn’t background music; it demands attention, sometimes uncomfortably so.
What strikes most about From Ruins is how personal it feels. These aren’t polished pop songs or club-ready bangers—they’re intimate glimpses into TomA’s creative process. Listening to it feels like flipping through someone’s sketchbook, full of rough edges and unfinished ideas. And honestly, that’s refreshing. In a world obsessed with perfection, albums like this remind us that beauty often lies in imperfection.
So yeah, if you’re looking for easy listening vibes, this ain’t it. But if you wanna explore something unconventional, give From Ruins a spin. Just don’t expect answers—it’s more about questions anyway. Oh, and fun fact? Every time I hear “Airfield,” I imagine tiny robots building a spaceship made entirely of cassette tapes. No idea why. Maybe TomA does too.
