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TEMPLES

A remix 12” of three Jura Soundsystem classics featuring interpretations from Quiet Village, Tapes and Good Block.

'Having released a few EPs and an LP it felt like a fun thing to get some remixes. I’ve ticked off a few musical bucket list items with this 12”, Quiet Village being the big one. I’m a bit of a fanboy and Joel & Matt have not disappointed with a remix that sounds simultaneously futuristic and classic. Tapes brings his unique brand of dub house and Good Block round off the party with a 90’s influenced slice of Balearic house [we say baggy breaks! - Ed]”. (Kevin / Jura Soundsystem).

3mm spine Kraftboard sleeve with sticker, designed by Bradley Pinkerton.

STAFF COMMENTS

Matt says: Quiet Village follow up their brand new single with an equally arresting remix of Jura Soundsystem. Joined by Tapes who gets on a deep, tribal dubby house slant; and Good Block who goes all free party downbeat. Super strong turn out by all!

TRACK LISTING

Carafe Denim (Quiet Village Remix)
Udaberri Blues (Tapes Remix)
Linn Fun (Good Block Remix)

Temples of Jura enlist long serving Croatia polymath Ilija Rudman for his ninth LP entitled ‘The Great Beyond’. The concept of the album is the afterlife with words from Nikola Tesla, Slavoj Zizek, Jim Morrison, JF Kennedy, Charles De Gaulle, WH Auden, Azar Nafisi and Eleanor Roosevelt woven together to tell the story of ‘The Great Beyond’ and what may lie ahead for us all. The voice itself was created by AI (let’s call him ERIC) and is set beautifully to music that has a timeless cinematic quality. Ilija only uses pure analogue equipment in the creation of his music, resulting in a rich tapestry of basses, drums, chords and lead sounds. He’s been a prolific producer for over 20 years now with a discography that runs deep with more than 100 vinyl EP releases and 8 studio albums, but we feel he’s reached the pinnacle with this concept album. We’ll leave the final word to ERIC “You gain strength, courage and confidence by every experience in which you really stop to look fear in the face.”

STAFF COMMENTS

Matt says: Philosophic musings merge with AI and lush, dreamy instrumentals in an ambitious concept album from Rudman. I'm sure there's some Timothy Leary titbits in there...

TRACK LISTING

Anas Theme
River Cant Wash My Tears Down
In The End (Intermezzo Theme)
Heroinas Atom Heart
Dreams (Part I)
Dreams (Part Ii)

Temples

Sun Structures (RSD24 EDITION)

    THIS IS A RECORD STORE DAY 2024 EXCLUSIVE AND WILL BE AVAILABLE INSTORE ON SATURDAY APRIL 20TH ON A FIRST COME FIRST SERVED BASIS, LIMITED TO ONE PER PERSON.

    IF THERE ARE ANY REMAINING COPIES THEY WILL BE MADE AVAILABLE ONLINE AT 8PM ON MONDAY APRIL 22ND.






    Earthtones With Kevin Nathaniel

    Meditations For Synthesiser + Mbira Nyunga Nyunga

    Earthtones is the musical identity of Serge Bandura, an electronic artist, former jazz musician, meditation teacher and ritualist based in LA. Kevin Nathaniel channels sound as a universal healing force through traditional African instruments and is a former student of legendary master musicians such as Ephat Mujuru and Chief Bey K. Sending files back and forth during the pandemic, the two artists deepened a musical friendship and began a dialog between the Mbira Nyunga Nyunga, the Kalimba and analog synthesizers. Their music is offered in the spirit of peace + healing for all. ‘Of The Earth’ (Full Meditation) is 21 minutes long and the B side offers 25 minutes of music.

    STAFF COMMENTS

    Matt says: Chakra re-alignment therapy for troubled souls or those who are simply fuming about our lack of real summer. With a modest collection of instruments and sound devices Earthtones and Kevin Nathaniel achieve some miraculously trascendendant results.

    TRACK LISTING

    Of The Earth Meditation
    Of The Earth
    Slow Emotion
    Sonrise

    Temples

    Exotico

      Produced by Sean Ono Lennon, Temples’ fourth full-length album takes place in a mystical setting, an impossibly utopic island dreamed up by singer/guitarist James Bagshaw, bassist Tom Walmsley, keyboardist/guitarist Adam Smith, and drummer Rens Ottink. With its resplendent collage of psychedelia and krautrock and time-bending dream-pop, Exotico brings that world to life in crystalline detail, all while exploring an entire spectrum of existential themes: impermanence, mortality, our connection with nature and the wild immensity of the mind. Equal parts cerebral and celestial, the result is a truly immersive body of work, fully affirming Kettering-bred Temples as one of today’s most forward-thinking and endlessly inventive rock bands.

      Mixed by Dave Fridmann (Beach House, Spoon, The Flaming Lips) and mainly recorded at Lennon’s studio in upstate New York, Exotico continues the collaboration begun on Temples’ Lennon-produced 2020 single “Paraphernalia.”

      Although Temples created portions of Exotico at their home studio back in England, their 12 days of sessions at Lennon’s studio marked a significant departure from the self-contained approach they’d adhered to since their debut album Sun Structures (a 2014 release The Quietus likened to a series of “woozy daydreams that will embed themselves further in with each listen”).

      STAFF COMMENTS

      Liam says: Ooooo baby, this is a big psych-drenched odyssey from the lads in Temples. Sixteen spaced out tracks of kaleidoscopic nectar, Exotico is here to remind us that it's not just James Acaster that came out of Kettering!

      TRACK LISTING

      1 Liquid Air
      2 Gamma Rays
      3 Exotico
      4 Sultry Air
      5 Cicada
      6 Oval Stones
      7 Slow Days
      8 Crystal Hall
      9 Head In The Clouds
      10 Giallo
      11 Inner Space
      12 Meet Your Maker
      13 Time Is A Light
      14 Fading Actor
      15 Afterlife
      16 Movements Of Time 

      Temples

      Paraphernalia

        Produced by Sean Ono Lennon and mixed by David Fridman, this 7" features ‘Paraphernalia’ on the A-side and the band logo Ankh edged into the B-side.

        TRACK LISTING

        Paraphernalia

        Temples

        Hot Motion

          It is one of the brilliant facets of recorded music that while it can frame forever in time one of humanity’s most fluid art forms, those captured sounds themselves can go on to become an active launchpad for the ideas, memories, emotions and feelings of those listening. Returning with their third album, Hot Motion, Temples have not just provided a strong demonstration of this dual static/frenetic nature, but they’ve created a record that revels in this beautiful contradiction.

          A brilliantly crafted, thoughtfully recorded collection, the album’s propulsive, seemingly immediate songs soon reveal an impressive depth of ideas and energy with subsequent listens because, as its title warns, Hot Motion is not a record that stands still.

          “I’m excited for people to experience these songs for the first time,” declares singer and guitarist James Bagshaw. “They are constructed in such a way that the album should feel relatively instantaneous, but we did not water down our creative ideas. Getting that balance can be hard, perhaps on the last record on some songs we used too many layers to create depth, but making this album we discovered that depth doesn’t simply come by layering things, it can come from the intensity of an idea.”

          While proud of 2017’s electronically orchestrated Volcano, the trio – completed by bassist Tom Walmsley and guitarist Adam Smith – feel they have reconnected with the verve and spirit of their debut, 2014’s Sun Structures, although Hot Motion proves as unique and forward-thinking as any Temples album.

          “There’s something more primal about this record,” suggests Walmsley of its energy. “We didn’t want to complicate things. We wanted it to have a more robust feel to it and focus more on guitars. Having less on there, but making everything sound as big as possible. I’ve always wanted our records to sound quite grand and larger than life, but we achieved that with some more earthy sounds in this time.”

          As with the band’s first two LPs, the group recorded the album themselves in Northamptonshire, although this side of Temples as evolved too. “We’ve gone from bedroom to living room to a dedicated space. We could all set up in the same room and allow things to play out a lot more like a band. That played a huge part in the sound of the record,” says Walmsley, although despite the extra room Hot Motion remains a home recording like its predecessors.

          "The room is a 300 year-old outbuilding at my house,” continues Bagshaw. “I spent two years fixing it up because it had a leaky iron roof on it. It was nice to work in a space which had a little charm to it but still felt like home recording.”

          That space fed directly into Temples vision. While retaining their enviably poppy instincts, the band created a host of brand new guitar sounds for this record and also took a lead from the “simplicity” of some 70s rock recordings which ensured the fundamentals behind each track are organic and original. “We were hiding less behind synth sounds and delays, which meant that the pureness of the melodic construct of each song was more thought through,” explains Bagshaw. “There was an element of less is more in some places.”

          A glorious technicolour infuses much if the album, but there is a David Lynch-like undertone that adds a gravity to Hot Motion’s soaring moments. “It felt like there was a darker edge to what we were coming up with and we wanted to make sure that carried through across the whole record,” says Walmsley. “It’s not a ten track, relentless rock record from start to finish, it’s got a lot of light and shade and more tender moments, but that heavier, darker sound for us is something we wanted to make sure was in there and explore further.”

          The exemplar of this is the opener and title track Hot Motion. Starting with a seemingly innocent, crunked ice cream van-like riff, the song quickly bounds through a sonic landscape of shadowy valleys and exalted highs as the track captures Temples at their inventive best, and shares an expansive, irresistible energy with the listener.

          “Hot Motion is the feature piece,” declares Walmsley. “It was one of the first songs we put together for the record and it felt like it had all the marks and inspiration that we wanted the whole record to have, that was an important track.” Bagshaw agrees, suggesting that it set a tone for the next phase of Temples’ development. “Hot Motion is a better song than I ever dreamed it could be,” he says. “There was something in essence of that song to conjure with.”

          From the impressive opening, the rest of Hot Motion similarly boats an initial immediacy before unfurling greater depth and ideas, although each song cascades onto its own unique territory. Tracks like The Beam, It’s All Coming Out and Step Down offer swirling, enticing mini journeys, while the groove on Context “huge and a bit of a nod to an old school hip hop vibe” according to Bagshaw. “Songs like The Howl and Holy Horses have a slightly harder, heavier than we’ve done before,” adds Walmsley. “It felt like it was very important to retain that element on the record because it allowed us to open up with tracks like Atomise.”

          Lyrically too, this record has seen Temples embrace “purer, primal” feelings.

          “I’m really proud of You’re Either On Something lyrically because I feel deeply connected with the words – they’re so truthful,” admits Bagshaw. “On that track, I can hear influences of stuff that I listened to when I was growing up. There’s almost a nostalgia to that track, even though it’s very forward-looking. Equally, while the words on [album closer] Monuments are a little cryptic, it’s very much about the time we live in. I wouldn’t say it’s a political song but you can’t help but write about the things that are happening otherwise you’d just be a hermit.”

          Fizzing with ideas, bursting with kinetic energy and balancing an immediate impact with an enduring, timeless intensity, Hot Motion is an album that very much provides a snapshot one of Britain’s most progressive bands’ soul, while offering its audience a starting point for their own flights of emotion and imagination. Indeed, one of its creators is jealous that he cannot experience it anew too.

          “This record has really got me excited,” declares Bagshaw. “I really want to be on the receiving end of it more than any other record we’ve done. While we were making it I was thinking I wanted to be able to hear what it sounded like without working on it – I’d love to hear this out of the context in which it was made. I was really longing for that as we worked on each song, so I’m excited for people to experience these songs for the first time.”

          Don’t delay this life-affirming trip, Hot Motion awaits.

          TRACK LISTING

          1 Hot Motion
          2 You're Either On Something
          3 Holy Horses
          4 The Howl
          5 Context
          6 The Beam
          7 Not Quite The Same
          8 Atomise
          9 It's All Coming Out
          10 Step Down
          11 Monuments

          Cypress Hill

          III (Temples Of Boom)

            Twenty years ago Cypress Hill was on top of the world, with two chart topping albums and several number one singles. Upon its release on Halloween, "Temples of Boom" might have illustrated their total disregard for the commercial success they’d enjoyed up until that point. This album was darker. The beats were spookier. The lyrics were grim. Even the album cover had a gloomier look, which is saying a lot when looking back at Black Sunday’s cover. It seemed that instead of riding the success of their previous two platinum albums they were heading in the opposite direction, pop culture be damned. Then something strange happened: "Temples of Boom" went platinum. B-Real, Sen Dog, and Muggs had put out an album that was all about them, not the mainstream or Columbia Records, and it worked. The fans remained steadfastly open to something new. 

            TRACK LISTING

            1. "Spark Another Owl" Freese, Muggerud 3:40
            2. "Throw Your Set In The Air" Freese, Muggs 4:08
            3. "Stoned Raiders" Freese, Muggerud, Reyes 2:54
            4. "Illusions" Freese, Muggerud 4:28
            5. "Killa Hill Niggas" (featuring RZA And U-God) Diggs, Freese, Reyes 4:03
            6. "Boom Biddy Bye Bye" Freese, Muggerud, Reyes 4:04
            7. "No Rest For The Wicked" Muggerud, Freese 5:01
            8. "Make A Move" Freese, Muggerud 4:33
            9. "Killafornia" Muggerud, Freese 2:56
            10. "Funk Freakers" Freese, Muggerud 3:16
            11. "Locotes" Freese, Muggerud, Reyes 3:39
            12. "Red Light Visions" Freese, Muggerud 1:46
            13. "Strictly Hip Hop" Freese, Muggerud 4:33
            14. "Let It Rain" Freese, Muggerud 3:45
            15. "Everybody Must Get Stoned"

            It doesn’t take too long with Volcano to realise that, while all the things that made the band special the first time around remain intact, a noticeable evolution has taken place. It’s there from the outset: the beefed-up beats of Certainty reveal an expanded sonic firmament, one in which bright synth hooks and insistent choruses circle around each other over chord sequences that strike just the right balance between nice and queasy. “If there’s a sense of scale,” says lead singer James Bagshaw, “It was really just a result of implementing a load of things that we didn’t know about the first time around.” Co-founding member and bassist Thomas Walmsley describes a record in which “we discovered a lot as we went along, and the excitement at having done so radiates

            One thing you do notice is that it’s harder to spot the influences this time around. It would be disingenuous to evade the psych-pop tag, for sure, but mystical language has been supplanted by something a more direct – and while those influences are still there, it’s no longer possible to pick them out. They’ve been broken down and blended together – fossilised into a single source of creative fuel, so that what you can hear this time around, sounds like nothing so much as Temples. This is the sound of a band squaring up to their potential.

            STAFF COMMENTS

            Andy says: More synthy than their debut but crucially just as hyper-melodic, Temples bring the magic of a bygone era right into the present with huge aplomb. It's a beautiful thing.

            TRACK LISTING

            1. Certainty
            2. All Join In
            3. (I Wanna Be Your) Mirror
            4. Oh The Saviour
            5. Born Into The Sunset
            6. How Would You Like To Go
            7. Open Air
            8. In My Pocket
            9. Celebration
            10. Mystery Of Pop
            11. Roman God-Like Man
            12. Strange Or Be Forgotten

            Holy Serpent

            Temples

              The concept of “skate-rock” has been around for many years, but it has never been embodied as well as on Temples, the new album by Holy Serpent. While the band members are just casual skateboarders themselves, one might be tempted to think that skating has subtly influenced the band's sound. Not only in the elements of 70s hard rock crossed with punk values and energy. But, the music itself is like riding a skateboard: slow grooving passages can shift on a dime into fast thrill-ride riffs. There’s an exhilarating freedom of movement and unpredictability to the sound.

              In the short time since their self-titled RidingEasy debut in mid-2015, Melbourne, Australia’s Holy Serpent have gained a lot of attention for their rather punk version of heavy psych and metal. Fittingly, there’s a strong vibe of early Soundgarden, Saint Vitus and Kyuss to Temples in that it’s undeniably heavy, but also clever in its experimentation with subtle tempo shifts, multiple vocal effects and other production techniques. But it’s still more Sabotage than Sabbath Bloody Sabbath.

              Temples is heavier in tone than the first album, and also more sonically rich and aggressive. The 5-song, 44-minute album finds vocalist/guitarist Scott Penberthy, guitarist Nick Donoughue, bassist Dave Bartlett and drummer Danny Leo (new drummer Lance Leembrugen has replaced Leo since recording to complete the live lineup) expanding the hooks while simultaneously taking listeners on a rigorous ride.

              “We've found playing slow all the time got a tad boring so we've mixed it up a bit with tempo changes and added more parts to each song to make them sort of flow like a story,” Penberthy says. “The challenge was making sure it still flowed as it should. ‘All killer no filler' was a bit of a motto this time around when writing the songs.”

              Album opener “Purification by Fire” emerges slowly from a primordial swamp of a reversed gong crash, synth swells, guitar feedback and lightly plucked bass notes before it all coalesces into a driving but slow-burn riff that spans the length of the fretboard as the drum patterns also subtly shift and slide underneath. It’s a brilliant effect, albeit one you might miss if you’re not paying attention. “Bury Me Standing” launches full throttle with a raging guitar solo over a driving riff/rhythm before a quick about-face into a march as Penberthy’s effect-soaked vocals wail above the proceedings. The song builds slowly upon its elements until Penberthy howls an impassioned plea, “bury me standing, I will not forgive you.” Album centerpiece “Toward the Sands” further pushes the tempo changes and sonic experimentation to great effect as the song effortlessly turns on a dime from fast rager to doom, while all sounding cohesive and melodically infectious. Album closer “Sativan Harvest” is an epic nearly 12-minute multi-part journey, built around a central blues motif that drifts into a massive haze of droning guitars set to fat rhythm pickup tone as it swells then recedes, only to restructure into a mutated version of the original motif that eventually abruptly ends with violin, cello and synths in a slow fade into the ether. 

              Temples

              Sun Structures

                The album was recorded at home, in the box-room of James's house in Kettering, an end terrace with a blessedly forgiving neighbour. "I'm always apologising to him for the noise, but he says, 'It's not noise, it's music,'" says James. The band aim for Jack Nietzche production on a DIY budget – and succeed. "It's similar to Joe Meek – he used to record vocals in his bathroom in his flat on Holloway Road," says Tom. "The way I see it, there aren't any limitations any more," says James. "If you know what you want to achieve, there's always a way around it."

                STAFF COMMENTS

                Andy says: Cool as you like psychedelic pop album, with some massive melodies and trippy sounds.

                TRACK LISTING

                1 Shelter Song
                2 Sun Structures
                3 The Golden Throne
                4 Keep In The Dark
                5 Mesmerise
                6 Move With The Season
                7 Colours To Life
                8 A Question Isn't Answered
                9 The Guesser
                10 Test Of Time
                11 Sand Dance
                12 Fragment's Light 


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