What I can very truthfully describe as one of the most individual sounds coming out of the London music scene right now, I found myself anticipating this release so fervently you wouldn’t have known I’d only recently become aware of it.
Guys, this is great. I mean really great. Admittedly I’m a big Talking Heads fan (influences of which you can hear a great deal in this EP), but irregardless of that I’d think this was really cool. Fronted by Dominic Rose, this collective formed of at least twelve members all bringing different sounds and expertise to the group, manages to create a coherent yet completely unique sound. A lot of this comes from the fact that Rose acts as a sort of conductor and editor, streamlining what is very much a process of creative expression into, in this case, a seven-track EP.
Describing themselves as disco-punk, this EP veers more towards punk in its lyricism but definitely sticks to its disco-origins. However I have to say I really do not want to put this group into one genre because I think firstly that would do them a disservice, secondly that would put too neat of a cap on their sound and thirdly with so many members, this group has many divergent genres. Keeping that in mind though, Fake Turins manages to wrap up some really heavy themes in very effervescent, fun and even celebratory music.
Let’s take a look at the song ‘Down!’ which deals with the topic of depression. An isolating illness, not only is this song wrapped up in a very upbeat tempo, it also involves the voices of what I can only assume is the entire collective. Whether or not it was meant to be, I think the collective being involved with Rose’s vocals leading the way is really quite a poignant pairing in relation with this subject matter. ‘Talking Prophets’ is another one with a jarring topic. Written based on Rose’s relationship with his dad, it tells of blind wildfulness this post-Brexit/Trump era. What is thematically heavy is completely juxtaposed by the psychedelic, out-of-this-world music with accents of saxophone, synths, clarinet, pounding bass and excellent percussion.
I think that the various elements this group brings to the table also mean that the lyricism can be portrayed musically. What any other band might wish to portray thematically usually is stuck in the lyricism; this is not the case here. This is especially apparent I feel in ‘Stolen Parts’. The percussion in this track gives, if not a sense of discomfort at the passage of time, then at least a constant feeling of movement.
As interludes between all these fantastic songs come the ‘(eternally) roses’ variations. I’d call them musical movements since they sit somewhere in between a movement and a soundscape for me (and they are numbered appropriately: ‘(eternally) roses II/IV/VI’). These come as a reprieve from the more upbeat tempos of their longer songs.
All of these bring us to their titular track ‘Time Flowers Now’. This song eases you in, giving you a guitar riff to latch on to while they sprinkle in other elements and build layer upon layer. At its core this song looks at human nature advising us to flower with time, otherwise risking sinking into the sands of time. Again, an arguably chilling message but delivered with the same style and general feel of release and celebration.
After all, if we cannot celebrate the darkest hours of our lives in some way, what can we do?
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