Tom Rasmussen’s Body Building brings the nuances of gender and identity to the dance floor

Rasmussen debuts a heavily-upbeat, dance-forward album, whose transition to the latter half of the record displays the ability to explore themes of violence and queer empowerment through the lens of dance-pop tracks and undeniable rhythm. Rasmussen (who uses they/them pronouns) is a writer, drag queen, activist and musician making headway in the UK’s queer social scene.

Opening with watery textures, “Borrow a Feeling” quickly glides into disconnected, closed-off keys that are a reoccurrence throughout the album. Rasmussen’s vocals enter with a spoken-word-like approach: “This isn’t as easy as it used to be / Although I think the fact that this was once easy is the reason it’s not now.” Transitioning into the chorus, a repeating chant of “Can I borrow a feeling? / Can I borrow a knife?” displays a central theme across the album: repetitive, mantra–like lyrics which cut through infectious rhythm.

“Fabulous Opera” displays the best of the first half of the record: heavily layered textures and techno beats, with a stacked piano melody that immediately demonstrates Rasmussen’s ability to create club–ready pieces. While Rasmussen’s vocals fall to the back, a heavy melody generates a punchy groove. The latter half of the album makes its appearance between “Stomp (Interlude)” and “Dial 9,” which melt seamlessly to gently move towards a different side of Rasmussen’s work. Exploring queer identity struggles, the song amplifies Rasmussen’s songwriting ability with an R&B–forward philosophy.

Following the structure of 80s disco, “Street Violence” predates “Not Over It,” which begins with a strings melody loosely interpolating Lou Reed’s (Velvet Underground) “Street Violence,” drawing the listener in with melodies so influential within the LGBTQ+ scene. “Seth” maintains all the flow of the record's second half, with synth–heavy notes and a rhythmic pulse that arguably overshadows Rasmussen’s vocals but creates a perfectly club–ready track.

In the midst of the album is “Glass (Interlude),” featuring Son Faye, which comprises of a distorted spoken word monologue and a refreshing atmospheric tune. “This is How We Walk on the Moon” also offers a well–placed breather in an otherwise motion–filled album, with Rasmussen’s vocals spotlighted through reverb and light distortion. Equally as welcomed, “Joy” is airy and melodic, perfectly curated for a dance floor.

“Dysphoria” cuts straight to the roots of Rasmussen’s message: queer community and experiences. “I want to feel free of dysphoria,” Rasmussen muses over a pulsating current. Dysphoria is, undeniably, Rasmussen at their best: an addictive melody with a social–forward message. “Just keep climbing up that hill,” Rasmussen makes room to explore the realities of dysphoria and love, which are forever intertwined.

As a whole, Body Building is a solid debut for Rasmussen, displaying an ability to create addictive and catchy tracks with ease. The album does struggle with pacing, often transitioning into alternative genres or rhythms not quite as smoothly as desired. With more time and expertise, though, Rasmussen’s music career will make its mark.