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LP
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SPIRE 051LP
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Mark Templeton presents Jealous Heart, an album which re-imagines the story of his sound in an approach that is both staid and deeply emotional, reorienting what is offered and what is held back through a myriad of smeared stringed instruments, fragmented horn phrases, tape loops, and found-sound-driven explorations. Templeton's music is always difficult to truly classify, which is part of its charm. It is way too dense and detailed to qualify as ambient in a traditional sense -- instead developing itself into a highly organized, spacious clutter. It is electro-acoustic music that harkens to tape machines and misused instruments of yesteryear, viewed whole-heartedly through the prism of ultramodernity, of an awareness of what has transpired in-between. Filled with subtly processed horns that recall a jazz club under the sea, a speakeasy of a future past blanketed in a detailed haze that allows one to find an individual path through it -- a precise murkiness, where objects coalesce in the background while the focus stays predominantly on the instrumental underpinnings of each track. At times the album holds a sense of longing, of days past or imagined to be, but cloaked in hopefulness, of a consistent sense of working through an idea, an experience, a sound source -- wringing something constructive out of it and re-forming it into something better. Warm and textured is a given with Templeton's work. This album is similarly so, but with a layer of knowingness, an awareness that warmth is not enough. There is a pervasive sense of age, a feeling of it being an older object than it actually is, almost as if it was found on a forgotten shelf, yet had sensibilities that won't exist until tomorrow. The landscape becomes one where the album manages to be constantly moving while presenting the listener with a sense of stillness, a balancing act that is incredibly difficult to get right.
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CD
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ANTICIP 007CD
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This is the second full-length release by Canadian experimental electronic artist, Mark Templeton. The follow-up to 2007's acclaimed Standing On A Hummingbird (ANTICIP 001CD), Inland continues his humble electro-acoustic balancing act, using stringed instruments, drums, field recordings and his own voice with sensitive, effective processing, while playing with stillness and rhythm, visible, warm melodies and smeared, distorted meanderings. One hears the clear plucking of the guitar and banjo at times, and at others, a thick wall of texture. Beginning work in geographically-remote Edmonton, Alberta, Templeton continued and eventually finished the material after moving to the urban center of Montreal, which, in the usual paradox of urban centers, imposed the solitary remoteness of being away from friends and family while crowded in an isolating environment. The placement is still outdoors, but with a sense of borders rather than an endless plain. Working within these confines has yielded Templeton's most abundant work to date, a modern experimental campfire music which retains a subtle folkiness while acknowledging that this campout is only a five-minute ride from the comforts and technology of the big city and its big machines. Templeton makes extensive use of his voice as a melodic sound source, never uttering a word, but using the human sound as a layer which pulls you in and makes the most of its inherent gravity. Just as the voice sings out and is then quickly distanced and obscured, the song-like-structure of these pieces takes shape and then dissipates, leaving the shadows of guitar, banjo, voice, percussion and field recording elements. Since his solo debut, Templeton has developed a more fully-realized version of his sound, bathing it in a similar haze, but in a less handled, edited manner. By stepping back just a bit, and giving the sounds some more air, he has forged a stronger identity and found a place on a tightrope between electronic processing, folk-ambient music and an instrumental practice which doesn't sacrifice anything.
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