Posts Tagged ‘Temples’

British psychedelic-rock outfit Temples have teamed up with Sean Lennon (The Claypool Lennon Delirium) to help produce their new single, “Paraphernalia”, out today via ATO Records. The dreamy, uptempo rock track is the band’s first new original release since their Hot Motion studio album arrived last September. Salvation has surfaced to save us all from the trials and tribulations of the so-called new normal. We’ve worked tirelessly over the past months with Sean Lennon at the controls, no borders, no rules, no distractions – just unfiltered sentiment.

The future begins with getting back in touch with yourself. The wait is almost over.

“I’d always been a fan of the band. Had seen them play some pretty great shows over the years,” Lennon added in a press statement about his collaboration with the rock outfit. “When I first heard the demo for ‘Paraphernalia’ I knew they had a great tune.” Listen to the new song below.

The 4:23 minute recording delivers swells of layered vocals and catchy lead lines from synth-driven strings. The song was recorded during the Hot Motion sessions and was mixed by Dave Fridmann (Tame Impala, The Flaming Lips).

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Avid psych heads have been long awaiting English jangle-pop group Temples’ return to the fray. I am among them and the news that their new LP Hot Motion came out friday is heartily welcomed. ‘You’re Either On Something’ is a fine lead single, awash with fuzzy guitars and shimmering synth arps. Nobody sings like James Bagshaw.

With their third brilliantly crafted and ingeniously intricate album, “Hot Motion”, British band Temples has found new ground and a deeper, darker creative well. A glorious technicolor infuses much of the record but there is a David Lynch-ian 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 the whole record,” said bassist Thomas 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 is something we wanted to explore further.

As the follow-up to 2017’s rhapsodic Volcano, Hot Motion finds Temples on new ground, and wading into darker, deeper territory in terms of both songwriting and instrumentation.  The album’s first single is a bright, brassy return to the band’s distinct psychedelic pomp, but built on a sturdier, stadium-rock backbone. The accompanying video drowns the band in warm hues of orange, red and yellow as they perform the track in a hazy funk.

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British psychedelic pop trio Temples announced a new album, Hot Motion, and shared a video for its title track (also its opening track). Hot Motion is the band’s third album and is due out September 27th via ATO Records (their first for the label).

Hot Motion follows 2014’s debut album, Sun Structures, and 2017’s sophomore album, Volcano. The band now consists of James Bagshaw (lead vocals/guitar), Thomas Walmsley (bass/vocals), and Adam Smith (keyboards/guitar/vocals). The album was recorded in a studio set up in an outbuilding of Bagshaw’s house in the midlands of England.

“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,” said Walmsley in a press release.

In terms of Hot Motion’s sound, Walmsley had this to say: “It felt like there was a darker edge to what we were coming up with and we wanted to make sure that carried through the whole record. It’s not a 10 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 is something we wanted to explore further.”

Of the lyrics, Bagshaw had this to say: “I’m really proud of ‘You’re Either On Something’ lyrically. 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.”

Temple’s new studio album ‘Hot Motion‘ is out worldwide on September 27th, 2019.

TEMPLES – ” Volcano “

Posted: December 7, 2017 in ALBUMS, MUSIC
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Temples returned with their neo-psychedelic follow-up to their neo-psychedelic debut “Sun Structures”. Some moments strike like Tame Impala , others soar and don’t look back. They didn’t slump with “Volcano”, they, well, I was going to say like they played the trump card,

We kick off with “Certainty”, echoing the repeated, falsetto hook “I want to know that certainty is in my life.” It’s catchy, airy, uber-singable and has a light pop mix. Leaning in to the chorus, all I can hear is drums, vocals and a little icing. It’s a play from the top 40 playbook. Its cheesy on paper, but works wonders as an advancement on their sound. Not like a left turn into pop at all, more like a recipe with an extra appealing ingredient.

The second track, “All Join In” plays more like an intro, with its extended drum reverberations and epic mountain top synth line. The chorus is a half time jaunt with another soaring melody from James Edward Bagshaw. Elsewhere, “Oh the Savior” has immediacy and hooks on hooks. The first time through the verse it feels familiar, by the third time, you feel like you wrote it. Then the chorus takes off too. Like being in the stratosphere, then jumping in a rocket to go the megasphere.

The majority of the choruses here feel airborne, popping back to the 90’s, when every verse was pointless, and every chorus could fly. But it isn’t just Temples’ choruses, it’s the way they lead into them. The one measure hold and pop, or the seamless flow, their transitions flourish.

The guitar makes one major appearance on “Roman Godlike Man”. The rest is plenty of psychedelic keyboards, like the rainbow sherbet leads of the lead off track, and the waves of Cut Copy color on “How Would You Like To Go?” Also, the is-it-a-guitar-is-it-a-synthesizer lead on “Open Air” and the weighty, deliberate intro on “Celebration”. The sneaky hook lead on “Mystery of Pop” is inviting, my compliments to the chef.

The lyrics are typical dreamer, adventurer stuff, “We stand we land the form of parallelogram” and “mystic man stands like a contest”. They leave enough ambiguity for the imagination, sometimes leaning on the absurd with a british wit — “I’d like to put you in my pocket.” Like some psychedelic pop records, the first two or three listens offer little differentiation, but repeated listens reveal subtleties between the main similarities — drums, falsetto choruses.

They save the best for last as “Strange or be Forgotten” is the one track you won’t forget. A slightly funky groove kicks in, and a guitar echo base that both fade into a classic Temples verse melody, repeated, syncopated, and begging to be sang in falsetto. There are four different melody structures to the song, a verse, something of a pre-chorus, that fades into an additional pre-chorus, most bands would have built the song around these key pieces, but Temples bury the lede and keeps the chorus melody for last, and it’s the strongest on the record.

Volcano follows a rich tradition of British bands with pop sensibilities that flew under the radar: Supergrass; or never quite made it in America: Blur. How that much legendary music has come from this small island we will never know. This record’s closest counterpart is last year’s Currents from Tame Impala. Temples can’t quite reach pop solidarity like those Aussies, but they can come close enough.


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Temples release their second album Volcano on Heavenly Recordings. It was self-produced and recorded at the band’s home studio in Kettering. 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. 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.

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18 months and 10,000kms travelled since many needles first dropped on her debut LP Listen To Formation Look For The Signs, it’s safe to say with new album Preservation, Nadia Reid now knows herself extremely well. An ode to self-reflection and self-betterment, Preservation is the sound of Nadia showing her true colours, taking back a bit of power, and learning more about herself. Deeply intellectual but felt by all, it punches harder than before. Nadia’s beautifully warm vocals coolly wrap around feelings of turbulence, and exude a gently improved confidence. Returning to the production skills of Ben Edwards in his Sitting Room studios and long term guitarist Sam Taylor, this time around everything is rubbed in more grit and channels Nadia’s deftly profound take on life and whilst we already knew it, her own realisation that it is music which drives her. Nadia has seen the world she once knew become a whole lot larger. Simply singing her truth has taken her to becoming acquainted with her Scottish and Irish heritage during her first full European tour, downtime with long-time sister-from-another-mister Aldous Harding and even making the odd award shortlist along the way (NZ’s 2016 Taite Music Prize). Rather than growth in its most typical sense of any artist finding their way in the world, Preservation marks a natural passing of time – what you pick up along the way is a bonus.

The wave pictures canvey island baby

The always prolific The Wave Pictures release an exclusive 10″ on Madrid-based label Acuarela with five very fine covers and an original in tribute to the legendary Wilko Johnson, mythical founder of the rhythm and blues band Dr. Feelgood. The Wave Pictures are strange: they are an indie rock band without indie rock influences. Everything they have been listening to throughout the years is blues and American 50’s and 60’s rock‘n’roll. Nevertheless, they have never enjoyed those retro behaviors which slavishly copy the looks, sound, haircut and sources of the past which escape from the spirit of the music they love. They have their own style and they don’t want to be a blues band, but the blues is there, in the invisible nucleus of everything they do. Following on from 2015’s Billy Childish collaboration Great Big Flamingo Burning Moon, their recent acoustic record A Season in Hull and their latest LP Bamboo Diner In The Rain, The Wave Pictures pay tribute in Canvey Island Baby to one of their major influences: Wilko Johnson. The founding member of Dr. Feelgood credited as one of the greatest ascendancies of the English punk movement has also been part of the cast of HBO’s Game of Throne as Sir Ilyn Payne back in 2010. In 2013, Johnson was diagnosed with late stage of pancreatic cancer and played what was going to be his final show guesting with Madness on the television program Madness Live: Goodbye Television Centre broadcasted on BBC Four. It seemed as if Johnson’s career was over after he cancelled his two final shows in Canvey Island, but on April 2014, he reappeared at the Icon Awards ceremony to surprise the world with the news that after radical surgery he was now cancer-free. The Down By The Jetty album was an early influence on David Tattersall for the way Wilko Johnson combined the roles of lead and rhythm guitar. But for The Wave Pictures, Wilko’s music is also loads and loads of fun. Citing David “he’s a wonderfully idiosyncratic singer and an original songwriter, always finding a little trick in that old blues song form to make a new, poppy point”. Wilko Johnson doesn’t use effects pedals and neither do The Wave Pictures. They have made this EP out of fun. After all, it is homage to one of the most influential guitarists and to the career of this living legend. It is a 10” which has as part of its title the name of his birthplace (Canvey Island), 5 covers of Wilko’s songs and a new original Wave Pictures song.

Blanck mass

As humans, we are aware of our inner beast and should therefore be able to control it. We understand our hard-wired primal urges and why they exist in an evolutional sense. We understand the relationship between mind and body. Highly evolved and intelligent, we should be able to recognize these genetic hangovers and control them as a means to act positively and move forward as a compassion-ate species. Unfortunately, this is not the case. Recent global events have proven this. The human race is consuming itself. World Eater, the new album by Benjamin John Power’s Blanck Mass project, is a reaction to this. There is an underlying violence and anger throughout the record, even though some of these tracks are the closest Power has ever come to writing, in his words, “actual love songs.” “Maybe subconsciously this was some kind of countermeasure to restore some personal balance,” Power explains. On World Eater, Power further perfects the propulsive, engrossing electronic music he has created throughout his impressive decade-plus career, both under the Blanck Mass moniker and as one-half of Fuck Buttons, as he elaborates upon the sound of 2015’s brilliant double album Dumb Flesh. As massive as the sonic world of the new record often feels, its greatest achievement is in its maximization of a limited set of tools, a restriction intentionally set by Power himself. “As an exercise in better understanding myself musically, I found myself using an increasingly restricted palette during the World Eater creative process. Evoking these intense emotions using minimal components really put me outside of my comfort zone and was unlike the process I am used to. Feeling exposed shone a new light on this particular snapshot. I feel enriched for doing so.”


Everything Is Forgotten, the new album from Methyl Ethel (Perth, Australia), is a vivid, compelling and mysterious creature, all sinewy, curvaceous pop nuggets and enigmatic currents. Written and recorded by frontman Jake Webb, the album was brought to life by acclaimed producer James Ford (Arctic Monkeys, Foals). The pair’s collaboration infusing the band’s shoegaze dream-pop palate with electronic and polyrhythmic flourishes, allowing Webb’s keening, gender-fluid vocals and searing poetry to take centre stage.


Temples have unveiled a new track from their upcoming album “Volcano” and it’s another psych-pop doozy.

Bassist Tom Warmsley said of ‘Strange Or Be Forgotten’: “We’re continually inundated with pressure in modern life to have to make something ourselves and leave behind a legacy in this world.” He explained that, “‘Strange Or Be Forgotten’ is our way of questioning the necessity of having to be all so individual and unique – when really it’s our true selves that should be celebrated”.

The Kettering indie-psych outfit broke cover at the tail end of 2016, airing new material via a series of intimate shows. Second album ‘Volcano’ arrives on March 3rd,

After a shuddering start, the track evolves into a swooning, blissful pop number drenched in epic strings and wobbly synths that’ll be a euphoric ending to ‘Volcano’. It’s Temples just being themselves, and that’s just the way we like them.

The band have also announced an absolutely massive tour across the UK and Europe in March and April. Kicking off in Newcastle on 26th March, they’ll be hopping all around the continent for a month before eventually returning to Bristol to end the tour on 27th April. Standard way to round off a mammoth run of dates then.


“Sun Structures” delivers strong melody after strong melody, with not a single parody to be found. The band boast an unusual gift, and that’s the ability to create the essence of the mid-to-late ’60′s psychedelia, without ripping anybody off in the process. No clichés, just strong material. The sound may be familiar, but the tunes are all theirs. The band performed a superb set of songs at Reading Festival during the summer.

these classic qualities are all over just about every song here, particularly “Keep In The Dark”. And so Sun Structures is the perfect album, with reference points aplenty,


The sunny psych rock 4-piece from Kettering is back with Volcano, their sophomore follow-up to the globally-praised classic debut Sun Structures, a distinct voice in the massive neo-psych movement of the past few years.  While many bands followed the lofi aesthetic in the school of The Velvet Underground, Temples led a UK movement of studio professionalism with one foot in the door of post-Nirvana Brit Pop and the other in early 70s glammed-out T-Rextacy.  Their music has a psych pulse, but the rhythms swing and gyrate with pop star confidence.  It’s one big party, and everyone from Donovan to The Byrds to Marc Bolan to Neu! to Oasis are invited.

Volcano looks to be embracing some synth influences, but it’s still got that Temples formula that we’ve all fallen in love with.  Check out first single Certainty on a previous post and grab one of the 300 yellow vinyl variants from Heavenly Recordings .  Heavenly is a UK label.


TEMPLES – ” Certainty “

Posted: October 30, 2016 in MUSIC

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The band wanted to create something with an almost eerie, early Disney vibe,” says Temples frontman James Bagshaw of their comeback single. Already this week’s most-blogged, it’s the first from the UK psych-rock outfit’s follow-up to a breakout 2014 debut. With the release of the very Tame Impala-ish new single “Certainty,” psych-rockers Temples are gearing up for a new album.



This time label mates Temples & Fever The Ghost cover each others tracks. After bonding on tour in the US last year, this limited 7″ brings the magic from both bands. Temples cover Fever The Ghost’s debut single ‘Calico’ and Fever The Ghost cover Temples hit  ‘Keep In The Dark.’

This limited pressing is available in Record Shops on April 18th as a stand alone 7″ or it’s included in our wicked box set.

Were really excited for our 2015 Record Store Day release to hit the shelves of stores on April 18th.

Also available this limited Edition “7 and 7 is…” A tasty Heavenly Recordings boxset of rare 7″ inch singles.

Featuring Mark Lanegan, Duke Garwood, Hooton Tennis Club, The Wytches, Stealing Sheep, H. Hawkline, Caitlin Rose, Kid Wave, Jimi Goodwin, Fever The Ghost, Temples, Pete Wiggs, Jane Weaver, TOY & The Voyeurs.