Along the lines of other classical-oriented guitar players, this Toronto area musician plays each note meticulously while allowing for some improvisation. The opening title track could be construed as a possible Jimmy Page arrangement. Martin Posen is best during the song when the line between a relaxed classical style and faster manual dexterity is blurred. "Tarlika's Shadow" has a Latin tinge, and the bass and percussion play a larger role here than other songs. There is also a great amount of intimacy heard in the album, whether it's the sound of guitar strings against the neck or Posen playing off Rick Lazar's subtle drumbeats. "Orison" is perhaps one of the weaker tracks on the record, allowing too much time between notes. Posen here opts for a Ry Cooder style of playing, but the results are less than spectacular. One of the better tracks is "Bounce," which definitely has a certain amount of bounce. The song's melody comes to the fore in the middle section before Posen adds to it. Another interesting track is "Burning Bush." Starting off with bland roots rock or Bon Jovi strumming, the song picks up when Posen plays in a Celtic-influenced style. "Spinal Chords" evokes images of Chet Atkins as Posen allows the guitar to basically sing the song. The listener's attention is kept throughout most of Triple Heater, particularly on the winding "Starburst," and the record closes with a slightly more upbeat track in "Joao's Gem," which perhaps could be placed earlier in the album. Nonetheless, it's still a very solid album from a relatively obscure performer.
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AllMusic Review by Jason MacNeil