Temple Complex - Self Interest Behaviour (Self-released)

Bristol is no stranger to great temples - the majestic antiquery of Temple Meads station, upstart manufacturers Temple Cycles, the popular dereliction of Temple Church - but those most currently important lie either side of the eyes of Josh Lamdin, A.K.A. Temple Complex. With his new EP Self Interest Behaviour, this multi-rhythmicist collaboratively explores inner territories with as much precision as sprawling creativity.

And the rhythms are the first striking feature of the record. The technicality of Lamdin's work on drums and guitar is astounding. Just take the skomping synchronicity of 'Dolmen's latter half, breaking from four to three time with sharp but invigorating contrast. Alternatively, you could attempt to count bars on 'Eat Flowers' (though I implore you not to think about it and instead accept the catchiness it captures in the face of such obtuse signatures).

It's easy to say that 'Eat Flowers' is the standout track; it's certainly the most traditionally structured song and hearing Lamdin himself take the husky lead on vocals is a great pleasure. However, the central instrumentals 'Orthodillox' and 'Pocket Geography' are beautifully placed. It's as if the listener is climbing a great mountain through 'Orthodillox' with its odd, processed sounds. Strange winds swirl around and scratch at the ears as echoes and reverb bounce of unseen snowy faces.

Then, upon reaching the summit, you are pushed headfirst into 'Pocket Geography'. Sledding down, speed only gathers for the first few minutes. Falling guitar lines climb in intensity. Drums insist pressure upon the sides of the forehead. A few snags are hit. And you are airborne. Slow motion takes over and an epiphany is reached in which a key ethos on the cosmic unconsciousness is laid out in spoken word. Given scant time to realise this theory, you at least hit the ground on your feet and run the final minute into the more meditative 'Eat Flowers'.

The whole EP follows this sort of curve. Starting with the false introspection and unconscious culture-confusion of 'Moio' and finishing with the half-reassurance of Aisling Trafford's vocal on 'IWNDTWWSE', perhaps finally representing a greater acceptance of that which is other. The narratives behind the record will take a long time to fully unpick, if they ever can be, but the main story to take away is that it is worth keeping an eye on Temple Complex, a project which promises to be a methodical explosion of unbridled imagery and creativity.