Darkened cities you never thought you’d ever see speed past in an instant. During the day, you may get a sense of the place, but you don’t always get a taste of the place, of the culture and of the country as a whole. After the performance, you quickly move on. Tempelhof was recorded on Will Long’s 2013 European tour that saw him travel to the UK, Germany, Switzerland, Poland and Russia. After that, Tempelhof returned to Japan for subsequent mixing.
Celer continues in beautiful fashion a long-running discography written by an artist versed in high quality ambient music. Tempelhof is the sound of Europe; of cold fields, of stunning architecture that you’ll only ever see once (and only for a couple of seconds as you drive past), a stranger in an unfamiliar and yet open country on a continent connected by 12 golden stars. The subway is a warren you could lose yourself in, and the maps are a confusing series of dislocated lines written in a foreign language and designed for a native pair of eyes.New friends are made, and you’re introduced to other artists. You return home, and even though your tired, aching body tells you differently, the touring experience doesn’t feel like yesterday – it feels like another lifetime. Back home, life is impossibly different.
Lagging tones surround Celer’s music. A deep, satisfying warmth radiates outwards. For most of the time, the ambient-tinted atmosphere is as delicate as a flow of passing air. The clear-eyed tone is an extremely fragile one, like a decade-old memory. Interludes segue with the longer tracks; the field recordings stand for minutes at a time as if waiting on the platform for their train and their next destination. Like EU borders, the segments dissect the main drones, keeping the ambient music localized. The beautifully warm ambient swells of “Lights Inside and Ahead” capture and purify the soul of the place, but it’s a fleeting sanctuary. Tempelhof is a record in constant transit.
“Associations With the Same Intention” remembers its journey well. This gentle, lovable ambient layer has a nostalgic feel deep inside its heart, recalling a lovely, warm evening in a pretty country thousands of miles away from home. “Ends That Come As Quickly As Beginnings” is as quiet as falling snow. One by one, the notes settle on the ground, covering the music in a sleepy wash of pure white. The streets of Poland fade into Russian blocks as the cold, creeping temperatures invade. Another country calls. Outside, another field blurs against the cold glass of the window. (James Catchpole)