Taurus 1984 – Dream Warriors (2020)

U.K. based Taurus 1984 is an ambitious retrowave collaboration between producers Alastair Jenkins and Bobby Cole. Their debut album, “Lost in Time” was released in 2018. Their follow-up entitled “Dream Warriors” was released via Outland Recordings on May 29th, 2020.

“Dream Warriors” by Taurus 1984 is an album that I’ve had a weird relationship with since I became aware of it way back in May. As a child of the 1980s I instantly related the word combination “Dream Warriors” to Dokken. The first time I saw this album I honestly thought that Taurus 1984 named their album after “Dream Warriors” because they made a banging synthwave cover of Dokken’s “Dream Warriors.” I was totally wrong about this. My brain expected hair metal, but Taurus 1984 delivered something that couldn’t have been farther from that expectation. In comparison to their summery debut “Lost in Time,” “Dream Warriors” is a drastically different album. Where “Lost in Time” has a more traditional Synthwave sound, “Dream Warriors” is cut from a different brand of 1980s based music. What’s important to note, is that to the unprepared ear I think that “Dream Warriors” has the potential to be largely misunderstood.

To fully understand where “Dream Warriors” is coming from I think it’s important to look at why it’s so different than the wide majority of Synthwave.

  1. It’s music driven primarily by vocals.
  2. Whereas traditional Synthwave embraces disco-italia, 1980s dance, and film soundtracks “Dream Warriors” leans more into electro-funk.

At the onset, “Dream Warriors” gives off an inspirational, albeit soulful vibe that is spiritually reminiscent of inner city post-disco electro-funk from the early 1980s. Groups such as The S.O.S. Band, George Clinton’s P-Funk, and Sinnamon helped to pioneer this sound. Taurus 1984 pays homage to this while simultaneously combining it with traditional Synthwave. The result is an interesting experiment that serves to illustrate why fabricated nostalgic vibes work only up to the point. Where post-disco was developed out of the combined experiences of many musicians working together, Taurus 1984 is borrowing from those experiences under an entirely different framework. This isn’t the first time that this has happened. Most notably, the first well-received instance of this type of thing can be seen in 1965 with the release of The Beatles’ “Rubber Soul.” That album introduced the world to the idea of “plastic soul” which was perfected by David Bowie nine years later with the release of “Young Americans.” As I currently understand it, the foundations of Synthwave lie in fabricating authentic nostalgia via a parallel time line that doesn’t exist. And while “Dream Warriors” certainly has a little bit of this, by leaning so heavily into electro-funk it occasionally falls short as an incomplete thought. This is primarily because the type of sound that Taurus 1984 is exploring here would’ve been socially inaccessible to them in the early 1980s. That said, I have to commend Taurus 1984 for having the courage to push their limits by experimenting in this way. Combining the intimate individual nostalgic feel of traditional postmodern Synthwave with community driven post-disco electro funk isn’t exactly easy.

Taurus 1984 really shine on “Dream Warriors” when they allow themselves room to fully shift away from Synthwave and just write music that comfortably lends itself to tools they had available for this album. “Ghosts” is wholly indicative of this by channeling an in-precise Queen vibe that serves as one of the album’s high points. Just looking at how many people were involved with “Dream Warriors” I have to say that I admire the fact that Taurus 1984 was able to fit so many small details into this album—particularly when it comes to how the vocals were mixed. For instance, on “Home” there is a short male vocal burst that adds a pad like presence to the mix that greatly accentuates the Abi Davis’s vocal performance. This type of thing is repeated often on “Dream Warriors,” even if it comes off in the mix as mildly subliminal. My favorite track off of “Dream Warriors” is, by far, “Situations.” I think that out of all the songs produced here this was the one that was closest to that electro-funk vibe that Taurus 1984 tries so hard to reach at other points in the album. “Situations” really speaks for everything that Taurus 1984 is capable of. It would’ve been, at least to me, a much more fitting choice for the lead single here than the title track.

Overall, I don’t think that this album will appeal to everybody. It occasionally makes weird artistic decisions that waffles between a forced summer synthwave vibe and a plastic electro-funk vibe that could’ve worked better if there were a greater emphasis on the community aspect of this album. Actual live drums and a more spacious mix would’ve greatly impacted the overall effectiveness of this album as well. That said, I did enjoy “Dream Warriors,” but it wasn’t easy to get into. I do truly believe that if Taurus 1984 continues to stay creative in this way that they absolutely will create something truly groundbreaking in the future.

RECOMMENDED FOR: Retrowave fans looking for an album that bridges the gap between electro-funk and instrumental Synthwave.

Stand-Out Tracks: “Situations,” (amazing track), “Ghosts,” “Home”

Album Color Profile: #FF3300

You can find all things Taurus 1984 at https://taurus1984.bandcamp.com/

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