If the opening beefed-up synth line of ‘Certainty’ revealed a change in style, then the delicious, quintessential Temples riff which shortly follows instantly puts any fears to rest. It’s been over three years since their debut and the second record does indeed show evolution, but the psychsters have retained the key elements which made them so great in the first place. A sonic expansion has taken place this time around. There is a notable emphasis placed on cleaner, more substantial production, with every track taking a few listens to really get your ears around; each subtle nuance gradually claiming a stake hold once you’re comfortable with the overall framework.

Of all the bands to ride the wave of neo-psychedelia in the past few years, none are more indebted to the 60s than Temples. However, this bordered on pastiche at times, with the band not displaying any real connection to their songs other than being good at replicating what they heard in their record collections. But for Volcano, this sounds like a group finding its authentic voice whilst simultaneously retaining its musical beliefs.

Self-produced by frontman James Bagshaw at the band’s home studio in Kettering, the aforementioned ‘Certainty’ is as good a pop song as you’ll hear all year and begins proceedings. Bagshaw describes the “Disney-esque, playful and harmonious but with a dark twist” riff which positions itself in your psych straight away before allowing the layers of trippy synthetic and analogue layers to take hold. The militaristic ‘All Join In’, meanwhile, displays Bagshaw’s intensified production ideals, whilst the flamboyant-pop of ‘(I Want To Be Your) Mirror’ could be a future single. ‘Born Into The Sunset’ then brings us one of those delicious riffs we’re so accustomed to from Temples (see ‘Mesmerise’ and ‘Shelter Song’ from the first record), which leave an imprint in your mind the second they leave the speakers.

‘Oh The Saviour’ gives some brief respite from the polished production with its smattering of acoustic guitar shortly before the Lonerism-esque ‘How Would You Like To Go?’ slows things down with its deep reverberating soundscape. Fans of the pulsating moments from Sun Structures will be slightly disappointed, but ‘Open Air’ at least offers some short-lived motorik and should lend itself to the live show. Lyrically Bagshaw works within a similar sphere for Volcano, with his ambiguous writings of gods, mythical creatures and philosophy as found on ‘In My Pocket’, not serving much of a purpose other than to assist the melody.

With all of this new creative fuel pouring through the four members, the album’s two final (and possibly finest) tracks perfectly exemplify this. ‘Roman Godlike Man’ is a marvellous space-glam stomper which sounds like Marc Bolan jamming with the Kinks, while the sonic genius of ‘Strange or Be Forgotten’ is a brilliant prog-pop recording in which you pick up subtle new elements with every listen. This pair open up future avenues for the third LP and cap off an album of greater depth, more complex structures and a richer, distinctive sound.

Paul Hill

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