“It’s easier to imagine the end of the world than the end of capitalism.” Fisher once said. Nevermind encouraging a futile optimism toward saving the world we live in. Whether it be the geographical one, the natural one or the political one. Mind, they all stroll hand in hand. Well, everything always goes back to theatre, because as much as we believe in our progress as a not-so-humanlike race, we still fall back on using escapism as the most realistic form of solution.
Something the one and only (apart from the other 17 bands) Colossus have strategically manifested into a very concept of their own. On the almost obvious assumption that all artists pin their hopes on the evasion of reality to reach their creative approaches, there is an extrinsic hope for this particular band. This band’s minds, ironically, only rest on the abundance of thought-provoking material – a fact clearly proven in the recent release of their second EP. In the failed attempt of granting it a one syllable title, they christened the piece as “NOTOFEARTH”. You may be wondering if this name is tying knots with the previously mentioned escapism, it is, but on a whole other level.
This EP, (not of earth), symbolises the need to get away. They reinterpret five songs into the redeeming yet unapologetic need to abandon life on solid ground, and visit the unknown possibilities of an alien-like escape to someplace else. Maybe somewhere better than the reality we face between brick walls and in front of a brightly screened warzone. “No one wants to have to be here. Running away is an understandable reaction. However, it cannot be a mission statement made for long-term effectiveness.” explains John Clay. Again, escapism. Evasion.
Taken from deep-line philosophies that pop culture films like to drizzle into their storylines, they build from this interpretation and find a suggestive narrative for their songs. As a Westernised belief in being the nub of all things happening, Colossus poke mullock at our theatrical take on fictionalising real disasters going on around the world. They mention the general geopolitics we’re facing today and engage in a tempting fantasy of getting away from the chaotic burn of our urban earth. This clearly resonated on their first song of the EP Fine Sky Night. The next song in similar line is The Mothership where they enhance this inner demand to flee but on a dabble with the alien abductee tail where, in this case, they don’t want to ever be returned. Reality is a tough endeavour, but going back to it after a fairy tale teaser? Even tougher.
Beautifully crafted artwork accompanies this record by a photographer named Emma Steele. She has this ability to make real locations look like they just shouldn’t exist – at least not on this planet. You’d never guess that the album cover location resides only a couple hours away from a big smokey London. I’d guess it forms part of a nonsensical fantasy world. But no, it’s Cobbolds Point in Felixstowe. How about that?
The duo have years of uncovered material. These written songs have a core purpose waiting for them further down a yet to be discovered line. But on the basis that these are to be summoned by Rob and John in due course. Delicately moving on from their reigniting debut EP last year, they assume a whole new approach towards this newborn record. It rather feels like they’ve contravened the initial fragilities of when they first got back into the music industry flow – and this second time coming decided to let the essence of their rawest versions of the songs make it to the final masters. Giving way to the initial or second recording of each number to take its toll on what they were always meant to be, rather than polishing them clean to perfection. It was a matter of thinking less and easing more into the nature of each sound.
They’ve packed this evasive thoroughness into a music’s overt radicalism. By bleaching the tracks with experimental outbursts and an unchained creativity, they put together a record of an unsophisticated moreish rock. Simple encounters within the production launched the sound to such a pure form of energy it almost feels like the record could fall apart at any given moment. Rob from the band mentioned, “You always want a rollercoaster that is safe, but that doesn’t feel safe”. Something I never thought could describe this style of music so enticingly well.
If you find yourself in London, take a trip down to The Shacklewell Arms on the 26th of April to catch them at a live gig. Playing alongside Yur Mum (the band, obviously, but take it as you please) and Healthy Junkies, they welcome anyone to join. Tickets are free, and doors open at 19:30h.
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