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SILENT TEMPLE

Crossover Prog • United States


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Silent Temple biography
SILENT TEMPLE is a progressive rock band from Portland, Oregon. Directed by multi-instrumentalist and composer Amos Hart. SILENT TEMPLE blends folk music with a plethora of styles from classic rock to heavy metal to soul-jazz.

SILENT TEMPLE began in Ames, IA in 2013 with the release of "Ruins", a neo-folk metal solo album by a young Hart. Amos has played the piano since before he can remember, but upon discovering the early 90's prog/power metal scene (Gamma Ray, Symphony X, Rhapsody of Fire), and the progressive folk rock of the early 70's (Pearls Before Swine, Yes, Malicorne, Kansas), he was inspired to make epic music with a full rocking band. In 2015 he created the band's second full-length release "Place of the Forgotten" featuring members of Chicago folk-metal band EIKTHYRNIR, and a few years later at music school in Chicago, Hart recruited bassist Mike Ewers.

2018 saw the birth of SILENT TEMPLE's live capacity as a progressive folk-rock outfit, playing various bars and art venues around the Chicago area. Most notably, the band had the honor of opening for Drag-City's Faun Fables in Milwaukee. Honey Jam Records in Chicago captured the music of this time with the album "Where the Waters Run Clear".

Months after, Amos and Mike acted on their dreams and musical ambitions out west. They landed in Portland, Oregon. Before COVID hit, SILENT TEMPLE had been successfully helping build a vibrant underground music scene together with classic rocker Rossi and her band Ten Spiders, and psychedelic folk star Natty Isabell and her band Flying Caravan. With the addition of these songstresses, choral style three part harmonies have taken SILENT TEMPLE's sound to a whole new level.

Joined also by Owen Kelley on guitar, Harrison Games on drums, and Mike Ewers on bass, SILENT TEMPLE recorded and released in 2020 their fourth album, "Marvelers of Creation", a double album.

SILENT TEMPLE now composes, practices, rehearses, and waits for opportunities to present their music, live and on record. The story continues.

SILENT TEMPLE's music creates a sound that includes a vast array of influences, both prog and otherwise, with an emphasis on acoustic atmospheres. HART's piano work is featured throughout the music. The nature of the project is very eclectic. Fans of Tori AMOS' piano work and JETHRO TULL may enjoy SILENT TEMPLE.

====== Initially written by Roland113. Reworked in December 2020 by Amos Hart ===============

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SILENT TEMPLE top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

4.33 | 3 ratings
Ruins
2013
3.86 | 12 ratings
Place of the Forgotten
2015
4.00 | 2 ratings
Where the Waters Run Clear
2018
3.67 | 3 ratings
Marvelers of Creation
2020
3.91 | 4 ratings
Faery Revolution
2022

SILENT TEMPLE Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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SILENT TEMPLE Reviews


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 Faery Revolution by SILENT TEMPLE album cover Studio Album, 2022
3.91 | 4 ratings

BUY
Faery Revolution
Silent Temple Crossover Prog

Review by BrufordFreak
Collaborator Honorary Collaborator

4 stars Brainchild of Portlandian Amos Hart, this band is new to me even though they've been around for a decade in several forms. This particular Prog Folk album explores a more theatric almost Broadway musical-oriented form of prog with a more troubadour/RenFaire type of feel to the music. The vocals, especially, are more seriously "professional" in their presentation. I like the recording and sound engineering as they sound as if they came from a 1969 open air concert. The rock instrumentation is also quite open and untreated, not unlike the engineering of pre-gated and compressed formats.

1. "Fey Breeze" (5:04) Amos' near-operatic tenor surprises but then one gets used to it. The choice of troubadour- like instrumentation is quite wonderful and welcome. I'm in 1970 heaven with the Mike Oldfield/Anthony Phillips/Godspell feel here. (8.75/10)

2. "Hold On" (8:41) potential energy in the bass, electric guitars, piano, and multiple floating vocals open this one. The energy readying itself to burst out is so palpable. A surprisingly early instrumental section occupies most of the third and fourth minutes before Natty' Isabell's warbbly vibrato voice takes over. Then in the sixth minute Rossi's powerful bluesy voice takes the lead. Wow! Goosebumps. Is this a song about abortion? Nice electric guitar solo follows and then a slowed down psych-space finish. If only it didn't kind of drag along--never changed pace over its nearly nine minutes. (17.5/20)

3. "Raotan" (7:37) a 1960s approach to folk rock with banjo, Hammond, and group vocal with that "plein aire" sound give this one a very friendly, accessible feel. The male vocal in the final minute sounds as if KERRY MINNEAR has joined in, but then moves into Amos' more theatric tenor. This song has a bit of the old SPIROGYRA and COMUS feel and sound to it. A top three song for me. (13.5/15)

4. "Sail of the Serpent" (6:09) picked'plucked acoustic steel string instruments and recorder over which Natty Isabel sings in a strong-yet-fragile folk voice--with a vibrato not unlike that of --part of it read as if from a poetry reading. Great Anthony Phillips-like chord progressions from the guitars and lute. I love the unexpected vocalise and slow re- amp up in the final section. This is a beautiful prog folk song that could have come from Ant's The Geese and the Ghost album. Another top three song. (9/10)

5. "Through It All" (7:22) a rather chaotic, Babel-like opening comes together at the one-minute mark with a whole- group chanted chorus. Meanwhile, drums, bass, and choppy guitar chords kind of jazz-plod ahead. The shouted vocal epithets come hurling in from multiple directions again until congealing again in the chant-chorus at the end of the third minute. For a bit here the rhythm and lead guitars almost take on metal sounds and stylings. At the end of the fifth minute things quiet down considerably while Amos takes over the solo lead vocal position (while the rest of the vocalists interject their supportive and accentuating contributions). Unfortunately, the song kind of loosens and inexplicably falls apart in the final minute. (13/15)

6. "One Day" (6:55) strummed electric guitar with banjo accompany Amos' Southern gospel "slave" vocal. Natty joins in for the second verse before the rest of the band jumps in with a Southern revivalist feel as Natty takes over the lead vocal. Nice Dixieland piano in the mix. Then the addition of gritty Southern gospel voice of Rossi adds another deep Southern emphasis. Nice song that conjures up images and feelings of a different time and place. (13.25/15)

7. "Far Away from Here" (6:25) nice opening of slowly strummed America "I Need You"-like 12-string chords. At the one-minute mark Amos' Andy TILLISON-like vocal style enters to deliver a beautifully light take on a fairly heavy lyric. Natty Isabell and, later, Rossi, add their vocals (Rossi's like a fiery Janis Joplin) in the choruses and as incidental accents. Pretty simple guitar solo precedes a spirited wake-me-up section starting around the 4:15 mark. Snarky electric guitar solos with quite a little emotion over the final 90 seconds. Nice. (8.75/10)

8. "Faery Revolution" (8:52) stage-accompanist bouncy piano and frail high pitched vocalise opens this one giving it a CHRISTIAN VANDER/MAGMA like feel. Then Amos enters and recites a in a very theatric fashion. When he finishes his recitation at the two-minute mark, bass, drums, and choral vocals join in to augment the MAGMA feel. Amos then continues his bard-like preaching as recorder threads its way into the weave. Amos even does a little bit of Vander-like scatting within his words. In the fourth minute everyone comes together to chorally express the title/theme. Then the band launches into an instrumental passage that sounds so much like a Magma jam--with male and female call-and-response vocals taking over over the fast-paced Broadway camp. While never quite reaching the heights of passion and virtuosity that the Zeuhl masters do, this one definitely digs deep and reaches for their best. Perfect Steve Howe-like electric guitar solo finish over Hammond and piano My final top three song. (18.25/20)

9. "Falling Leaves" (6:36) sounds very much like the final song in an off-Broadway musical--tying it all up, with each player contributing fairly equally to the summation. It takes a little while for the song to move out of this multi-voice Hair-like monologue. Since I don't hear words, I can't really get a clear picture of whether or not Amos & Co. are reviving a Hippie or religious? Nice emotion-busting screaming guitar outburst at 4:20 before the singers return with an almost euphoric gospel finish before the piano and softly-picked acoustic guitar take us into the fade out. (8.75/10)

Total Time 63:41

Though I find myself mesmerized and carried away by this music, part of the time I'm not sure if I'm supposed to be laughing at what sounds like it could be a parody of 1960s & 70s flower child/hippie culture or if I'm listening to a Christian rock opera like Joseph and the Amazing Technicolor Raincoat, Godspell, or Jesus Christ Superstar.

B+/four stars; an excellent display of theatric, pseudo-religious, retro Prog Folk. Definitely an artist whose back discography I now want to explore.

 Place of the Forgotten by SILENT TEMPLE album cover Studio Album, 2015
3.86 | 12 ratings

BUY
Place of the Forgotten
Silent Temple Crossover Prog

Review by Phantom Trollbooth

4 stars SILENT TEMPLE's second offering - Place Of The Forgotten - flows from song to song as a single emotional piece about the solace of nature in a world of war and greed. HART's deep resonant voice provides a refreshing contrast to the more conventional vocals in Crossover Prog. Vocals are hardly the focus of this album, though. HART's background in solo piano work is evident here, with his keyboard work providing the backbone for this album. The recording quality for the keyboards is exceptional for such a young band. In fact, all the instruments: flute, drums, violin, bass, and guitar are crystal clear. I only wish that the vocal recording for HART and BEIRD could have been as crisp; the vocals are a bit muted and sound like they were recorded through a thick filter, making them feel thin in a few places.

Inspiration from the bands listed on SILENT TEMPLE's PA bio: KANSAS, OPETH (Damnation), and JETHRO TULL can be detected, but I wouldn't call SILENT TEMPLE a carbon copy of any of these bands. They already possess a refreshing signature sound of their own, and I look forward to seeing what they release in the future, particularly if they explore more of the acoustic side where they shine.

A solid 4 star album from a band with much potential. Add another half star if you are into Opeth's lighter side.

Highlights: The Lamentation, To Heal In The Still Of The Night, And Shall The Winter Heal/ Place Of The Forgotten

Thanks to Evolver for the artist addition. and to NotAProghead for the last updates

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