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▓█▓▓█ Artist.....[ Mark Templeton ▀████▄█▓
██▓▀ Album......[ Inland ▀▓██
▄ █▓█ █ Label......[ Anticipate █ █▓█ ▄
█▒█▓█▄▀ Catalog #..[ ANTICIPATE007 ▀▄█▓█▒█
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▓█▀ ▀▀█▓█▒ Source.....[ CD ▒█▓█▀▀ ▀█▓
▓█▄ ▀▄ ██▓ Genre......[ Electronic ▓██ ▄▀ ▄█▓
▓▓█▓▀ ██ Language...[ English ██ ▀▓█▓▓
▀ ▄████ Rip Date...[ 2009-05-12 ████▄ ▀
▄ ▀ ▓█▓ Store Date.[ 2009-05-12 ▓█▓ ▀ ▄
█▀▀ ▄▓█▀ Rip Tool...[ EAC ▀█▓▄ ▀▀█
▓█▄████▀ Encoder....[ LAME 3.97 -V2 --vbr-new ▀████▄█▓
▀█▓▀ Quality....[ 171 kbps AVG VBR 44.1/Joint Stereo ▀▓█▀
▄ █▓█▄▓█▓ Url........[ http://www.anticipaterecordings.com ▓█▓▄█▓█ ▄
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█▓ 01 At Your Feet 3:50 ▓█
█▓ 02 Oak 4:11 ▓█
█▓ 03 Their Light Reflected 4:06 ▓█
█▓ 04 Please Take Me 4:12 ▓█
█▓ 05 Sleep In Front Of 5:14 ▓█
█▓ 06 West Of Fabric Pt. 1 4:35 ▓█
█▓ 07 West Of Fabric Pt. 2 1:14 ▓█
█▓ 08 Under 3:51 ▓█
█▓ 09 Even You Can Tell 2:45 ▓█
█▓ 10 Seam 5:32 ▓█
█▓ 11 Beginnings 3:04 ▓█
█▓ ----- ▓█
█▓ 42:34 ▓█
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▀█▓█▀ █ ██▀█ ██▀▀ ██ █▄ █ ██▀█ ▀██▀ ██▀▀ ██▀▀ █ ▀█▓█▀
▓█▓█ ▀ ▓█▄▀ ▓█▀ ▓█ ▓█▀█ ▓█ █ ▓█ ▓█▀ -▀▀▀█ ▀ █▓█▓
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█░█▒ Mark Templeton continues his humble ▒█░█
█░█▒ electro-acoustic balancing act on Inland, using ▒█░█
█░█▒ stringed instruments, drums, field recordings and ▒█░█
█░█▒ his own voice with sensitive, effective processing, ▒█░█
█░█▒ playing with stillness and rhythm, visible, warm ▒█░█
█░█▒ melodies and smeared, distorted meanderings, pulses ▒█░█
█░█▒ to hold onto and hollowed caves to get lost in. One ▒█░█
█░█▒ hears the clear plucking of the guitar and banjo at ▒█░█
█░█▒ times, and at others they fuel a thick wall of ▒█░█
█░█▒ texture. This dichotomy of near and far is at the ▒█░█
█░█▒ center of the album and its production background, ▒█░█
█░█▒ as it oscillates between spacious remoteness and ▒█░█
█░█▒ sonic close-ups. ▒█░█
█░█▒ ▒█░█
█░█▒ 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 and routine in a ▒█░█
█░█▒ crowded, yet isolating environment. Without setting ▒█░█
█░█▒ out to conceptualize the music in these terms, the ▒█░█
█░█▒ experience of both being too far away from ▒█░█
█░█▒ strangers and then too close to too many strangers ▒█░█
█░█▒ can be heard and interpreted nonetheless. As ▒█░█
█░█▒ complement and extension of these ideas of music ▒█░█
█░█▒ born out of circumstance, and not a vacuum, Inland ▒█░█
█░█▒ was begun before and completed after Templeton's ▒█░█
█░█▒ recently released audio-visual collaboration with ▒█░█
█░█▒ aAron Munson, Acre Loss. In contrast to that ▒█░█
█░█▒ project, Inland is less overtly pastoral, even ▒█░█
█░█▒ while exploring similar themes. Where Acre Loss ▒█░█
█░█▒ feels like an opening into a wilderness, Inland is ▒█░█
█░█▒ more enclosed, filling a more specific space, and ▒█░█
█░█▒ quite naturally reflecting back the movement of ▒█░█
█░█▒ circumstance surrounding its creation. It's 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. It's as if the formality ▒█░█
█░█▒ of a pop song would be too presumptuous and this ▒█░█
█░█▒ work instead searches for a more personal and ▒█░█
█░█▒ indirectly endearing quality. Rather than laying ▒█░█
█░█▒ out his story for you, Templeton opens it for the ▒█░█
█░█▒ listener to attach his/her experiences and ▒█░█
█░█▒ associations and leave with an individualized ▒█░█
█░█▒ impression. ▒█░█
█░█▒ ▒█░█
█░█▒ One can hear the seeds of Inland on Templeton's ▒█░█
█░█▒ stunning, critically acclaimed Standing on a ▒█░█
█░█▒ Hummingbird, which inaugurated the Anticipate label ▒█░█
█░█▒ in early 2007. Since that album, he 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, evoking windswept highways viewed through ▒█░█
█░█▒ dirty glass, but with a crowd of people jammed into ▒█░█
█░█▒ the seats, playing the radio alongside the natural ▒█░█
█░█▒ acoustics of the interior. ▒█░█
█░█▒ ▒█░█
█░█▒ http://www.anticipaterecordings.com ▒█░█
█░█▒ http://www.fieldsawake.com ▒█░█
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▄ ░▒▓█████████▓▒░ ASCii By AyL!cRO 2oo5 ░▒▓█████████▓▒░ ▄
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