RIYL = Geoff Mullen, Fennesz, Pandatone
It was only two years ago when Mark Templeton dropped the flagship release for Ezekiel Honig’s Anticipate label and, despite the insanely high grade of releases that have been released on Anticipate since, that release – Standing On A Hummingbird – has remained, for me, the very best. That is until now. Sometimes I wish I could just explode nonsense onto Forest Gospel for miles on end just to display the uselessness of conveying praise and adoration for a specific album with words. Trying to type out my excitement just becomes nonsense anyways. Run on sentences, fragments, spelling and grammar errors, repetitive, seemingly hyperbolic claims – it just feels flat in place of the music. And it is, but oh well. Here is to nonsense: Inland is a radiculously mesmerizing experience of intertwining guitar strings, violin patches and heaps of butchered, glitchy electronics. Templeton has upped his game considerably and Inland marks his second incredible release this year (the first being his gorgeous collaboration with Aaron Munson on Acre Loss). One of the major differences between Inland and Standing On A Hummingbird is Inland’s density. For some reason, things just feel thicker, like Templeton has added more to the mix. Also, (and I’ll have to go back to verify this) on Inland, Templeton has added some nonverbal vocals to the audio threading. So, in the end, what we have here is distinctly Templeton, just much more focused, more layered and simply heavier in its construct. Heavier might come off as the wrong word. We aren’t dealing with any doom metal riffs here. Its just the feathery tones that persist in this release have been tied to some stones. Regardless of its weight, Templeton, as can be seen in all of his work, is the master creating a beautifully cohesive mess. For those who have been waiting for this release as long as I have, Templeton does not disappoint. Essential listening for 2009.
Stream of Inland