Track By Track: Fake Turins discuss their latest EP, Inheritance
Fake Turins, an audio-visual 11-piece unit, has released their farewell EP Inheritance today, May 9th, via Opus Kink-founded Hideous Mink Records. The EP is a 20+ minute immersive experience of hedonistic psych-disco freak-out, filled with rhythmic dynamism, luscious instrumentation, and ominous atmospheres. In this exclusive track by track, the band takes us through their swan song one song at a time.
“‘Inheritance’ is the record we always needed to make. To share these musical stories – so many of them written years ago, during the death of my father – and explore the arrangement possibilities of an 11 piece ensemble. This record may be the final part of Turins DNA, woven into our very conception — but our own Inheritance will continue to live on, through ourselves and others.”
1. ‘Intro/Outro’
It was a significant decision to begin & end the record on the same studio jam of ‘Beatnik’ that we’d teased out in the sessions with Syd Kemp. The melancholy tone of the piano is a theme that pulled together the more ‘arranged’ feel of this record, so fading into the outro & out of the intro creates a complete circle. With ‘Beatnik’ as the manifesto of the themes in the band, and also the lead single from the record, it made complete sense to have “it goes around and around” at the end of the last track lead back into the beginning. The final chapter of Fake Turins as a closed unit.
2. ‘The Finch’
The most recently written track that appears on the record, ‘The Finch’ was conceived as the antagonist in the story of Inheritance — caustically biting remarks that dwell in the mind & only lead to unrepented rage. We had this bottled track of slight change & one static bass note create the opening tensions that place ‘The Finch’ as the seed of agony. But as all agony leads eventually to beauty, the sprawl near the end of the track plays out as the uncorked id moves past pain and into animal sorrow.
3. ‘Yr Made Of Gold’
A song about the passing of time, watching ourselves become the heroes/villains we looked up to as children. Mutating into our parents & facing their struggles. This song was written from the anger of my father & how my inheritance of his rage became my own.
4. ‘Live Room’
Put together as a recurring theme across the record, and alongside other variations of our deconstructed ensemble – this final version stands alone as the emotional changeup in the record. Dividing the anger from the pain, and the shift into a sombre, reflective state for the last tracks of Turins’ canon. Using the piano in the live room was also a real treat, so to develop an idea that captures more expressive orchestration was an opportunity not to turn down.
5. ‘Inheritance II’
With ‘Inheritance II’ we pushed the idea of a disco odyssey right to the forefront — sometimes jokingly referred to as our ‘Bohemian Rhapsody’ due to the multiple fragments — having all of the musical themes explored at the beginning reunite in a final cathartic explosion. This approach to songwriting became a larger part of our identity as the group mutated, with this song perhaps sitting close to what we can say Future Turins would’ve sounded like. Compositionally, the track began as an electronic-punk synth piece, written under this project’s very first name “Shinra Music” — with the ensemble additions over time fleshing it out into the sprawling, psychedelic overture that we’ve released today.
6. ‘Beatnik’
‘Beatnik’ is the original Turins’ track. It contains my manifesto for the project, and for the character I came to inhabit as Dominic Rose. It tells the tale of a false prophet, worshipped in hordes – with violent untenable screed, his mind falls into madness. The outline of this character was drawn in shades of my dad, taking our dream of plight (for humanity, for ourselves..) and seeing how it can easily corrupt human nature.
7. ‘Intro/Outro’
It was a significant decision to begin & end the record on the same studio jam of ‘Beatnik’ that we’d teased out in the sessions with Syd Kemp. The melancholy tone of the piano is a theme that pulled together the more ‘arranged’ feel of this record, so fading into the outro & out of the intro creates a complete circle. With ‘Beatnik’ as the manifesto of the themes in the band, and also the lead single from the record, it made complete sense to have “it goes around and around” at the end of the last track lead back into the beginning. The final chapter of Fake Turins as a closed unit.
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