Slow, unfussy, and largely instrumental, Orphans finds Art Feynman turning inward. Conceived as “music to do other things by,” the album is designed to live alongside daily activity, coloring the atmosphere without demanding focused attention. It moves through a space like wind chimes, less something to follow than something to feel. These are intimate, solitary explora- tions, sketches that feel less composed than discovered, yet they carry a quiet emotional clarity. Where Feynman’s past work often leaned on intricate grooves and dense interplay, Orphans is disarmingly still, patient, and comforting. As the album begins, you can almost picture Feynman hunched over a 4-track, tracing melodies on a small Casio, following instinct wherever it leads. Opening track “Soft Reminder,” unfolds with a gentle organ line that's equal parts melancholy and curiosity, its tones lingering in the air rather than pushing forward, settling into the room as easily as it invites quiet reflection. Elsewhere, “Soup Song” channels a kind of homespun minimalism, its insistent organ pattern recalling the early, exploratory spirit of Terry Riley’s A Rainbow in Curved Air. “Always In Need of Something” nods toward the playful, searching qualities of Francis Bebey, its cyclical phrasing suggesting a quiet, human restlessness beneath the surface. Throughout, tones and textures gently accumulate, shaping an atmosphere as much as a set of discrete compositions, subtly shifting the emotional temperature of whatever space they inhabit. Late-album centerpiece “Ice Bath,” one of the few vocal moments, offers a subtle thesis: “It slowed me down / That’s what I needed / For a new beginning.” The song feels like a turning point, an acceptance of stillness as a necessary condition for change. It dissolves seamlessly into “The Condition of New Things,” a gorgeously skeletal electric guitar piece that lingers in open space, each note placed with careful intention, recalling some of Jeff Parker’s solo work. Closing track, “Plastic Flowers,” drifts in on vocoder-softened vocals and a fragile bed of guitar and synth. “To trick the eye but still touch the heart,” Feynman sings, a line that quietly frames the album’s ethos. Like light shifting across a wall over the course of a day, these recordings may be modest, even illusion-like in their simplicity, but their emotional resonance is undeniable. "Temple presents himself as an Auto-Tune balladeer, Afrobeat enthusiast, and skilled craftsman of moody synth pop." - PITCHFORK