“This is really interesting pop music that takes equal influence from goth and post-punk, recalling the best of both of those genres...and someone who will undoubtedly grow into something great.” Beard Rock.com Consumed with a sense of urgency, a D.I.Y ethic, and a state of mind that was beginning to feel like mental illness. Violence, regret, love and loneliness, spilled out through verse. Thick layers of contaminated guitars, swirling synths and doomed-out vocals became the backdrop to an album capturing the spirit of our times. Each song visits the situation on several levels, from the future and the past, ground level to the stars, it explores the human condition caught up in an anarchic struggle to survive, focusing on our emotional nuances of regret as we begin to understand the significance of what it is that we will lose...our beautiful world. Tracks like ‘Fill Your Eyes’ stomp like a gypsy curse running through the Romany bloodline of Temple, telling tales of a man consumed with love for the universe whilst witnessing the final death throes of his world. ‘Drift’ contains a sparse, apocalyptic cry for release from the void, “feed the soul…I’m not the same”. And ‘Dagger’s theme of war paint being applied in preparation for the intellectual battle ahead, the oldest story in the book, Good Vs. Evil, divide and conquer is literally represented in its video, directed, shot and edited by Temple and Shahpour Abbasvand in the very same kitchen where the album was conceived. Once writing and recording was complete, live drums were added at Deptford Music Complex by ex-White Rose Movement drummer Ed Harper on the eve of the London riots, adding to the clangorous urgency of ‘Ultra’. After which, Temple approached mixing engineer Kenny Jones, to mix the live drums and home made recordings into one coherent doomful soundscape. Kenny’s previous recording projects range from The Smiths ‘Hatful Of Hollow’ Lee Scratch Perry and a Temple personal favorite The God Machine ‘One Last Laugh in a Place of Dying’. Naweed Ahmed of Whitfield Mastering, whose clients include Def Jam, Jay Z and Elle Goulding added the final masterful touches. During the making of the album, Temple discovered Dutch collage artist Ashkan Honarvar, whose work he felt an immediate affinity with. Still having never met, Temple forged a relationship via email with the artists and asked if he would interpret his dark musical insights. Ashkan responded with 16 perfectly formed pieces of art that galvanised Temple’s vision and became the final artwork for the album. The future may seem bleak to Temple, but until such times, the gospel will continue... “To the End…let it begin”