With a sound more reminiscent of California than of their hometown Kettering, 'Temples' are set to become the latest piece to the ever expanding psychedelic puzzle. So turn off your mind, relax and take an incense and peppermint trip into the world of 'Temples', whilst we tell you how influential this quartet can be, as they forge a path into the psychedelic wilderness complete with kaleidoscope eyes.
If we're honest, in recent years psychedelic bands, such as 'The Black Angels' and 'The Brian Jonestown Massacre' have struggled to keep their commercial heads above the water, even when they create enough hallucinating whirlpools to instantly drown the rest of the field. However, 2012 has witnessed a monumental shift in the landscape, largely down to the musical and commercial success of 'Tame Impala's Lonerism', and as a result, created the platform for the likes of 'Temples' to move up onto.
Arguably, purists may define 'Tame Impala' and to some extent 'Temples' as being "neo-pysch", but this is believed to be the path that a 'psychedelic' gang should adopt, in order to cater for the ruthless and ever changing demands of them people in suits.
In order to hit the proverbial ground running, 'Temples' needed to release a single that was refreshing, invigorating and above all, led the listener into an overdriven minefield of illusion, of which "Shelter Song" easily achieves. The unforgettable intro riff sparks obvious connections to 'The 13th Floor Elevators' and 'The Byrds', not just through it's sheer brilliance, but mainly due to the nostalgic twang it carves, instantly transporting us back to those hazy days of flower power and LSD. Moulded around Bagshaw and Warmsley's concussed harmonies, which are utterly engrossing, it becomes the perfect testimony for a "neo-pysch" arrival, especially when using lyrics like "we stayed up late in a dream."
Even "Prisms", the b-side to "Shelter Song", which features an unhealthy 'Beach Boys'-esque reliance on flutes and organs, is still best defined as a gargantuas psychedelic fetish, sounding like an intoxicated 'Arctic Monkeys'. With less guitar prominence, 'Temples' are able to demonstrate their superb versatility, but still produce a cracking groove with some Ringo-esque simplicity, that even a religious sister can't refuse. Add to the mix a layer of vocal which is both textured and hollow, then we have all the ingredients of a song that sounds and tastes utterly divine.
With the apocalypse imminent, there is no better time than to welcome it in than by taking a hallucinogenic trip with a double dosage of "Shelter Song". Better still, if we all manage to survive beyond doomsday then 'Temples' are destined for great expectations in the years to come, by hopefully being at the forefront of a homegrown psychedelic revolution . . . or at least a "neo-psych" one.
www.twitter.com/templesofficial
www.facebook.com/templesofficial
Enjoy!
BF x
Arguably, purists may define 'Tame Impala' and to some extent 'Temples' as being "neo-pysch", but this is believed to be the path that a 'psychedelic' gang should adopt, in order to cater for the ruthless and ever changing demands of them people in suits.
In order to hit the proverbial ground running, 'Temples' needed to release a single that was refreshing, invigorating and above all, led the listener into an overdriven minefield of illusion, of which "Shelter Song" easily achieves. The unforgettable intro riff sparks obvious connections to 'The 13th Floor Elevators' and 'The Byrds', not just through it's sheer brilliance, but mainly due to the nostalgic twang it carves, instantly transporting us back to those hazy days of flower power and LSD. Moulded around Bagshaw and Warmsley's concussed harmonies, which are utterly engrossing, it becomes the perfect testimony for a "neo-pysch" arrival, especially when using lyrics like "we stayed up late in a dream."
'Temples - Shelter Song'
Even "Prisms", the b-side to "Shelter Song", which features an unhealthy 'Beach Boys'-esque reliance on flutes and organs, is still best defined as a gargantuas psychedelic fetish, sounding like an intoxicated 'Arctic Monkeys'. With less guitar prominence, 'Temples' are able to demonstrate their superb versatility, but still produce a cracking groove with some Ringo-esque simplicity, that even a religious sister can't refuse. Add to the mix a layer of vocal which is both textured and hollow, then we have all the ingredients of a song that sounds and tastes utterly divine.
'Temples - Prisms'
As the organs begin to circle like a pack of vultures and the drums rumble in the most rhythmical manner on "Golden Throne", the melody mirages effortlessly, floating you skyward through the song onto a "neo-psych" magic carpet ride. Away from the obvious flower power 60's and long haired 70's vibes, there is also an obvious array of revitalised psychedelic influences lurking in the 'Temples' craft, largely revolving around the retro sonics of 'Miles Kane' and his delightful axe work as well as fellow Liverpudlians 'The Coral'.
'Temples - Golden Throne'
With the apocalypse imminent, there is no better time than to welcome it in than by taking a hallucinogenic trip with a double dosage of "Shelter Song". Better still, if we all manage to survive beyond doomsday then 'Temples' are destined for great expectations in the years to come, by hopefully being at the forefront of a homegrown psychedelic revolution . . . or at least a "neo-psych" one.
www.twitter.com/templesofficial
www.facebook.com/templesofficial
Enjoy!
BF x
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