Last spotted on enmossed, Mark Templeton lands on Jan Jelinek's Faitiche imprint with a series of archival snapshots captured from old hard drives and handed over to Andrew Pekler to rework and co-produce.
Since his debut album 'Standing on a Hummingbird' way back in 2007, Canadian media artist Templeton has been using reel-to-reel tape loops and sampled cassettes to add texture and context to his more modern sonic constructions, marrying them with artwork and visuals scraped from VHS tapes, Super 8 film and his own photo archive. For 'Two Verses', he decided to inventory his backlog of unused compositions, inviting Pekler to comb through the material and fiddle with a handful of unreleased tracks. He sees the album as a snapshots of the last decade of activity, and although it's not completely clear what Pekler did or didn't do here, that's partly the point.
Templeton has a set formula for each of the nine tracks, that follow an "AB" song structure, beginning with a verse (A), entering the second verse (B) before winding up. And he follows the same thread with his artwork, that's a series of his diptych photographs. The material is typically dusty, made from samples that heave and crack under the pressure of the loops. There's already a harmony with Pekler's own loop-based compositions, but Templeton's approach is bewitchingly organic. It's electronic music that seems to breathe on its own, coughing through its spidery rhythms, wonky pitched hits and spiraling oscillations and wheezing into its various saturations and fluttering falls. Ideal material for Faitiche, then - certainly a tip for anyone into Jelinek's more recent material.
View more
Last spotted on enmossed, Mark Templeton lands on Jan Jelinek's Faitiche imprint with a series of archival snapshots captured from old hard drives and handed over to Andrew Pekler to rework and co-produce.
Since his debut album 'Standing on a Hummingbird' way back in 2007, Canadian media artist Templeton has been using reel-to-reel tape loops and sampled cassettes to add texture and context to his more modern sonic constructions, marrying them with artwork and visuals scraped from VHS tapes, Super 8 film and his own photo archive. For 'Two Verses', he decided to inventory his backlog of unused compositions, inviting Pekler to comb through the material and fiddle with a handful of unreleased tracks. He sees the album as a snapshots of the last decade of activity, and although it's not completely clear what Pekler did or didn't do here, that's partly the point.
Templeton has a set formula for each of the nine tracks, that follow an "AB" song structure, beginning with a verse (A), entering the second verse (B) before winding up. And he follows the same thread with his artwork, that's a series of his diptych photographs. The material is typically dusty, made from samples that heave and crack under the pressure of the loops. There's already a harmony with Pekler's own loop-based compositions, but Templeton's approach is bewitchingly organic. It's electronic music that seems to breathe on its own, coughing through its spidery rhythms, wonky pitched hits and spiraling oscillations and wheezing into its various saturations and fluttering falls. Ideal material for Faitiche, then - certainly a tip for anyone into Jelinek's more recent material.
Last spotted on enmossed, Mark Templeton lands on Jan Jelinek's Faitiche imprint with a series of archival snapshots captured from old hard drives and handed over to Andrew Pekler to rework and co-produce.
Since his debut album 'Standing on a Hummingbird' way back in 2007, Canadian media artist Templeton has been using reel-to-reel tape loops and sampled cassettes to add texture and context to his more modern sonic constructions, marrying them with artwork and visuals scraped from VHS tapes, Super 8 film and his own photo archive. For 'Two Verses', he decided to inventory his backlog of unused compositions, inviting Pekler to comb through the material and fiddle with a handful of unreleased tracks. He sees the album as a snapshots of the last decade of activity, and although it's not completely clear what Pekler did or didn't do here, that's partly the point.
Templeton has a set formula for each of the nine tracks, that follow an "AB" song structure, beginning with a verse (A), entering the second verse (B) before winding up. And he follows the same thread with his artwork, that's a series of his diptych photographs. The material is typically dusty, made from samples that heave and crack under the pressure of the loops. There's already a harmony with Pekler's own loop-based compositions, but Templeton's approach is bewitchingly organic. It's electronic music that seems to breathe on its own, coughing through its spidery rhythms, wonky pitched hits and spiraling oscillations and wheezing into its various saturations and fluttering falls. Ideal material for Faitiche, then - certainly a tip for anyone into Jelinek's more recent material.
Last spotted on enmossed, Mark Templeton lands on Jan Jelinek's Faitiche imprint with a series of archival snapshots captured from old hard drives and handed over to Andrew Pekler to rework and co-produce.
Since his debut album 'Standing on a Hummingbird' way back in 2007, Canadian media artist Templeton has been using reel-to-reel tape loops and sampled cassettes to add texture and context to his more modern sonic constructions, marrying them with artwork and visuals scraped from VHS tapes, Super 8 film and his own photo archive. For 'Two Verses', he decided to inventory his backlog of unused compositions, inviting Pekler to comb through the material and fiddle with a handful of unreleased tracks. He sees the album as a snapshots of the last decade of activity, and although it's not completely clear what Pekler did or didn't do here, that's partly the point.
Templeton has a set formula for each of the nine tracks, that follow an "AB" song structure, beginning with a verse (A), entering the second verse (B) before winding up. And he follows the same thread with his artwork, that's a series of his diptych photographs. The material is typically dusty, made from samples that heave and crack under the pressure of the loops. There's already a harmony with Pekler's own loop-based compositions, but Templeton's approach is bewitchingly organic. It's electronic music that seems to breathe on its own, coughing through its spidery rhythms, wonky pitched hits and spiraling oscillations and wheezing into its various saturations and fluttering falls. Ideal material for Faitiche, then - certainly a tip for anyone into Jelinek's more recent material.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Last spotted on enmossed, Mark Templeton lands on Jan Jelinek's Faitiche imprint with a series of archival snapshots captured from old hard drives and handed over to Andrew Pekler to rework and co-produce.
Since his debut album 'Standing on a Hummingbird' way back in 2007, Canadian media artist Templeton has been using reel-to-reel tape loops and sampled cassettes to add texture and context to his more modern sonic constructions, marrying them with artwork and visuals scraped from VHS tapes, Super 8 film and his own photo archive. For 'Two Verses', he decided to inventory his backlog of unused compositions, inviting Pekler to comb through the material and fiddle with a handful of unreleased tracks. He sees the album as a snapshots of the last decade of activity, and although it's not completely clear what Pekler did or didn't do here, that's partly the point.
Templeton has a set formula for each of the nine tracks, that follow an "AB" song structure, beginning with a verse (A), entering the second verse (B) before winding up. And he follows the same thread with his artwork, that's a series of his diptych photographs. The material is typically dusty, made from samples that heave and crack under the pressure of the loops. There's already a harmony with Pekler's own loop-based compositions, but Templeton's approach is bewitchingly organic. It's electronic music that seems to breathe on its own, coughing through its spidery rhythms, wonky pitched hits and spiraling oscillations and wheezing into its various saturations and fluttering falls. Ideal material for Faitiche, then - certainly a tip for anyone into Jelinek's more recent material.