The Telescopes | Interview | New Album, ‘#4’
The Telescopes are back with a new album. ‘#4’ was created between 2002 and 2004 using unseen forces and home made / improvised instrumentation.
Shape shifting audio druidry and stone age free drone repetition. Mindscapes of merge and misheard whispers. Death rattles pulse driven twangs and broken bones.
Subtitle: In commemoration of The Telescopes’ fourth album, ‘#4’ – Tomorrow music from the past, forever in the present.
Weisskalt Records: Your audience holds your body of work with deep admiration (outside of superficial trends which come and go) – what is your perspective of this? How does it feel to be held in such high regard?
Stephen Lawrie: I hold the listener in high regard. I don’t settle for anything less than my own expectations as a listener. That’s my perspective. I love the trip music can take, it’s a good feeling knowing someone can get that from The Telescopes.
“A butterfly is a symbol of change”
The cover artworks are different – explain the context of both and the reason for the change?
‘#4’ was a more fluid organic approach to electronics and experimentation than its predecessor. It was developed live. The original CD art was a reflection of that journey. Change itself was a big part of ‘#4.’ Moving away from studio compositions. Also, many years have passed between the CD and vinyl additions, we live in a different world now. A butterfly is a symbol of change, I thought the painting was appropriate.
In a separate interview conducted by Klemen / It’s Psychedelic Baby! Magazine, you mentioned there are guitars on ‘#4’ but they aren’t played the traditional way – elaborate?
They’re table top guitars, laid flat, in experimental tunings, manipulated with whatever inspires; crocodile clips, battery operated hand fans, cello bows, tin toys, gear stick knobs, remote controls on the pick ups, anything. It turns the guitar into a fresh instrument, so you have to think differently and find new pathways.
In the final track “it bleeds”, exactly at the 4 minute mark there is a sonic fulmination. Is this timing on purpose? If so, how does it feel to be so precise in your timing and expression?
It had to bleed at some point.
Originally released on Antenna Records, now released on Weisskalt Records.
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The Telescopes | Interview | Exclusive Premiere of ‘Third Wave’ [link]
The Telescopes | Interview with Stephen Lawrie [link]
