Exotico is different from Temples previous three albums for two reasons; firstly, it is the Kettering band’s debut double album; secondly, it is the first LP that is not self-produced. Exotico was produced by Sean Ono Lennon, who produced Temples 2020 standalone single “Paraphernalia.” The band describe Exotico as a “genre-less album and our most captivating to date”, which does not solely “go down the ’60s route again….”
Temples subsequent Sun Structures releases, especially Hot Motion, have introduced other elements, including glam rock, pop and prog rock alongside their instant, catchy sixties psychedelic signature sound. These new sounds have lived harmoniously with the traditional indigenous Temples sounds. The concern is not if this LP can grab or hold the listener’s attention; instead, the deciding factor will be if Exotico can introduce more new and experimental sounds without brushing aside the band’s traditional psychedelic-rock template.
The opener, “Liquid Air”, is interesting because it has a strong 2010’s dance production and live dance tent sound to it. Ironically, Temples have tried to distance themselves from comparisons to outfits that do not use vintage production. However, this change in direction works because, albeit brief, the opener is psychedelic, and the harmonies are influenced by sixties progressive, acid-inspired west coast hippy culture. Furthermore, the bassline and the piano outro are infectious.
The songs that captivate me most quickly are “Gamma Rays”, “Cicada”, and “Meet Your Maker”. The ability of “Gamma Rays” is how it blends in krautrock sounds. “Cicada” draws in Euro-pop and techno beats, making them more sophisticated, with Temples psychedelic rock template and orchestral and arabesque strings. “Meet Your Maker” is honest and introduces heavy bass and rock guitars.
While the fastest and catchiest songs introduce new unexplored elements without the Temples traditional template losing its alpha status, on several of Exotico’s songs, the sixties and psychedelic building blocks are on the periphery. On “Oval Stones”, a mid-tempo summer dance song, one is unlikely to hear or even attempt to look for the deeper meanings in the lyrics since the beat is one that people are more likely to pull to rather than sensitively analyse.
Although “Slow Days” has psychedelic elements, it deftly synchronises catchy guitars and electronic sounds, which share equal status. The organ outro is superb. “Inner Space” goes down an eighties rabbit hole, as does “Time Is A Light”, which benefits from beautiful harmonies and guitar riffs.
Where songs like “Oval Stones” and “Slow Days” make a significant departure from Temples’ previous work, songs like “Exotico”, “Crystal Hall”, “Giallo”, and “Afterlife” pay homage to Temples debut LP Sun Structures. “Exotico” will instantly remind Temples’ followers of the “Move With The Season” track. “Exotico” injects the skills and life lessons learned since creating “Move With The Season” with a punchier, catchier, and enhanced sound. “Crystal Hall” honours its heavier and hard rock elements while “Giallo” adds subtle nineties electronics and soft rock.
Exotico also benefits from several beautiful instrumental interludes. “Sultry Air” adds Middle Eastern mysticism, while “Head In The Clouds” has a sinister twist of psychedelic guitars and “Movements of Time” offers unexpected ballroom and a wall of sound noises.
The vintage Temples sound on certain Exotico tracks sits quietly in the background. Elsewhere, it remains supreme without being indulgent. Sean Ono Lennon deserves credit for this. It would have been easy for Lennon to indulge Temples in pursuing a pure psychedelic rock record. Furthermore, whether this is down to Lennon, Temples band spirit has grown and flourished. Exotico is a testament to this.
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