California-born, Paris-based musician Tomorrow Woman has announced details of her debut EP, Plays Machines, previewing the record with the stark electronic single “Honey Factory.” Per a report from The Line of Best Fit, the project marks Betsy Roszko’s first solo release after more than a decade as bassist and vocalist in the post-punk band Gomme and a seven-year hiatus from putting out music. The EP arrives May 1 and pivots from guitar-driven sounds into analog-synth territory, built around themes of labor, luxury, and the body in motion.
According to Clash Magazine, Plays Machines was written and recorded entirely by Roszko in her home studio on the outskirts of Paris, using a “crisp, retro-futurist” electronic palette. The EP was mixed by Saguiv Rosenstock (YHWH Nailgun) and mastered by Heba Kadry, whose credits include Björk and Blood Orange. “Honey Factory” leads the set as a kind of mini-manifesto: a stripped-down, synth-driven track that Roszko describes as “a fever-dream fantasy of burning it all down,” inspired by feeling like “a bee in someone else’s machine” and the sense that “luxury today feels dystopian.”
From Punk Bass to Analog Synths
After years anchoring Gomme’s rhythm section, Roszko’s new material leans into dance and choreography as organizing principles. The Line of Best Fit notes that the songs draw on years she spent studying contemporary choreography and browsing the archives at Paris’s Centre National de Danse, with reference points ranging from Alvin Ailey and Crystal Pite to William Forsythe. That influence surfaces in the EP’s rhythmic precision and the way vocals sit in the mix like another moving part in the machine.
Clash hears echoes of early electronic minimalism—name-checking The Normal—in the single’s sparse, insistent pulse, while the slight rawness in the production points back to her punk roots. The four-track tracklist pairs “Honey Factory” with “Ultrasound,” “The Flower,” and “Whole Earth Catalog,” suggesting a compact, conceptually tight statement rather than a sprawling collection.
The SoCal Connection
For Southern California listeners, Tomorrow Woman’s debut carries an extra layer of homecoming. Roszko was born in California, and her work channels a strain of West Coast electronic and art-punk lineage—even as she builds it from a Parisian suburb. As of now, no Southern California live dates have been announced in connection with Plays Machines, but the region’s long-standing appetite for left-field electronic music and post-punk hybrids makes it a natural touring target.
Editorial observation: the timing of Tomorrow Woman’s emergence in early 2026 positions her amid a broader wave of artists who came up in guitar bands and are now revisiting early synth music and dance aesthetics—often with a sharper political and ecological edge. That shift plays particularly well in Los Angeles and wider SoCal, where club nights and DIY spaces have kept that continuum alive.
What happens next hinges on live presentation. With dance and choreography so central to the EP’s DNA, a visual or movement-based live show feels like a logical extension, and Roszko’s background suggests she’s likely to treat the stage as more than a laptop-plus-vocal setup. Fans on both sides of the Atlantic will be watching for tour plans post-release—and whether Tomorrow Woman brings that fever-dream machine back to California.
Last updated March 11, 2025.
Sources: Line of Best Fit, Clash Magazine
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