Posts Tagged ‘The Telescopes’

Fuzz Club Eindhoven 2019: Kikagaku Moyo + The Soft Moon + Iceage e.a.

Fuzz Club, organised by the label of the same name in partnership with Eindhoven Psych Lab, in that city’s imperious Effenaar venue, is ostensibly a ‘psych fest’. It’s a little steelier than most, perhaps – there is more psychedelia of the skull-crushing, motoric and guitar-based variety than there are whacked-out interdimensional synth voyages – but psychedelia it remains.

In the wider world, psych is somewhat on the wane in 2018, having hit a soaring high four or five years ago. In Liverpool, the annual International Festival of Psychedelia – one of Europe’s largest – was the undisputed daddy of the Scouse music calendar, a cosmic celebration imbued with a sense of starry-eyed optimism, a friendliness and community spirit.

After last year’s Fuzz Club Eindhoven, and before our ears had even stopped ringing, The Fuzz Club promoters began working on round two. Today we’re unbelievably excited to share the first seventeen bands who are set to play at FCE19 – taking place once again at the Effenaar over August 23rd-24th. You can find the line-up as it stands as well as a link to early-bird tickets below.

So, topping the bill will be everyone’s favourite Japanese mavericks Kikagaku Moyo, who will be bringing their transcendental blend of minimalist psychedelia, Eastern folk and krautrock. Also joining them will be Iceage and their twisted post-punk drawl and The Soft Moon, whose pounding cocktail of industrial, EBM and darkwave will be shaking floors in the early hours.

On top that there will be The KVB’s icy synth-pop, the shadowy drone-rock of Tess Parks and shoegazing legends The Warlocks and The Telescopes. Plus further Japanese hypnosis courtesy of Minami Deutsch, synth-punk workouts from Rendez-Vous and droning garage-psych from Alan Vega proteges The Vacant Lots. Oakland cosmonauts Lumerians, Chilean heavyweights Vuelveteloca and South African noise-pop duo Medicine Boy. We’ll also be bringing back Berlin post-punk outfit The Underground Youth and Porto krautrockers 10 000 Russos.

Bands for 2019 + more to be announced
Kikagaku Moyo, The Soft Moon, Iceage, The KVB, Tess Parks, The Underground Youth, The Warlocks, The Telescopes, The Vacant Lots, Lumerians , Whispering Sons, Rendez-Vous, Iguana Death Cult, Minami Deutsch, 10 000 Russos, Medicine Boy en Vuelveteloca.

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The Telescopes were founded in England in 1987 by chief member Stephen Lawrie and released several recordings in the late 1980s but it is in 1990, when the band signed to legendary label Creation, that they hit their stride and helped to define a decade of UK rock music. Fusing elements of psychedelia with noise-rock, and dreamy pop, The Telescopes were near the forefront of the early shoegaze scene and hugely influential on the next wave of early 1990s Brit-pop. This crucial collection complies all 4 of their 12″ singles on Creation as well as a 1991 John Peel session and other bonus tracks.

2LP – Double Numbered 180 Gram Vinyl with a deluxe double sided poster insert.

If you didn’t think 2017 was exciting enough for Creation Records shoegaze-psych rock legends THE TELESCOPES, between their two album releases and extensive touring, 2018 certainly gives signs that the band will be just as active. This week brings their new video for‘Everything Must Be’ off their ‘Stone Tape’ LP.This coming Friday, January 26th is also the first date for their new Europe tour in support of this album. One of six tracks found on their new ‘Stone Tape’ album, released via Rome-based label Yard Press. This video was created by Michele Manfellotto, following up album lead tracks ‘The Desert In Your Heart’ and ‘Silent Water’.

The band will also be heading across Europe on a 13-date tour in support of this album, which kicks off Friday, January 26th. 2017 was a highly eventful year for The Telescopes, having toured Europe in late autumn for their ninth album “As Light Returns” released via Tapete Records. earlier that year.

The Telescopes ‘Stone Tape’ album inaugurates Yard Press’ new series of record productions. Curated by Giandomenico Carpentieri, this endeavor is rooted in the desire to create albums that are developed in close collaboration with the artists involved. The starting point is to create a concept album specially designed for Yard Press, within a free environment without creative limits, where artists can pursue the most experimental and conceptual projects.

‘Stone Tape’ is a concept album inspired by the “Stone Tape Theory”, theorized by Thomas Charles Lethbridge in 1961. The archaeologist, parapsychologist and explorer developed the idea that inanimate materials can absorb energy from living beings, and that this mental electrical energy, released during emotional or traumatic events, could somehow be “stored” in such materials and “reproduced” under certain conditions.

It has been 30 years since Stephen Lawrie founded The Telescopes. One of the more interesting bands to be on Creation Records, influencing The Brian Jonestown Massacre and the whole shoegaze, space rock and psych movements, The Telescopes are the creative vision of Stephen Lawrie with a revolving line up. Formed in 1987, they released their first record in 1988, a split flexi-disc with Loop.  A string of releases followed for Cheree Records, What Goes On Records and Creation Records, each one hitting the higher reaches of the UK independent charts, some of them making it into the UK mainstream charts.

Not long after touring with Spacemen 3, Primal Scream and The Jesus and Mary Chain, The Telescopes were headlining tours themselves with support from the likes of Slowdive, Ride, The Cranes, Bleach, Bark Psychosis and Whipping Boy. The band eventually transitioned from their noise origins towards a more brooding psychedelic sound.Following the release of their second album in 1992, Lawrie put the group on hold, returning in 2002 with a renewed vigour. The late great John Peel, for whom they recorded two sessions, heralded their return and championed their ‘Third Wave’ album, exclaiming “The Telescopes have resurfaced and I am amazed and glad they are still practicing their mysterious art”.

‘Stone Tape’ is available digitally and as a vinyl limited edition of 500 copies via Yard Press,

TRACK LIST:

1 Become The Sun
2 The Speaking Stones
3 The Desert In Your Heart
4 Everything Must Be
5 Silent Water
6 Dead Inside

“Every sound you ever heard was but a preliminary exercise in hearing, for the all embracing maelstrom of The Telescopes” – Melody Maker (1989)

“Droney and draggy in the best psychedelic way with Telescopes’ kingpin Stephen Lawrie in a swaying chant capable of sending you into a glazed daze. Close your eyes for added effect and hit repeat – by the end of round 3 you’ll be hitting the peyote sands of shamanic trance territory” – Louder Than War (2017)

“While only six songs long, the record leaves quite a bruise behind… Don’t operate any heavy machinery while this is spilling through your earbuds” – Paste Magazine

Everything Must Be’ from ‘Stone Tape’ LP

Truly very few bands in the realm of psychedelic and shoegaze music come close to the story of The Telescopes. Described as “the all embracing maelstrom” by Melody Maker back in 1989, the world is no less enthusiastic about these Creation Records legends today. I feel privileged to present to you ‘The Desert In Your Heart’, the lead track from their new ‘Stone Tape’ album, forthcoming via the Yard Press label.

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Stone Tape is a concept album inspired by “Stone Tape Theory”,
theorized by Thomas Charles Lethbridge in 1961.
The archaeologist, parapsychologist and explorer developed the idea that inanimate materials can absorb energy from living beings, and that this mental electrical energy, released during emotional or traumatic events, could somehow be “stored” in such materials and “reproduced” under certain conditions.
The six songs comprised in the album have been written, produced, arranged and played by Stephen Lawrie, founder of The Telescopes.

Telescopes

For 30 years, The Telescopes have existed on the outskirts of the U.K. pop scene, in a host of different forms. Founded by primary member Stephen Lawrie in 1987 as a way to channel his love for such American underground icons like 13th Floor Elevators, The Velvet Underground, and Suicide, the band has since inhabited the worlds of noise, shoegaze, Britpop, and space rock without disappearing too far into any one of them. Rather, Lawrie has preferred to stitch all of them together into a kind of dreamcoat that’s wholly unique. Their eponymous second LP, released on Creation Records in 1992, is a stronger Salvo to Britpop than the records unveiled by Pulp or The Charlatans that year. On their decade-in-the-making follow-up Third Wave, Lawrie immersed himself in jazz and IDM to craft a fitting testament to the endless possibilities for the rock band format in a Kid A afterworld.

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Since signing with Hamburg, Germany indie imprint Tapete Records in 2015, Lawrie has returned to his roots in noise and space, building on the sound of the scene he helped spawn, with nods to early Primal Scream and Spacemen 3, and then taking it down darker, more abstract musical paths. For his second Tapete full-length release, As Light Return Lawrie is celebrating three decades in music by tangling up reverb, delay, and echo into some of the most impossible knots he’s crafted yet. It’s a dizzying five-song journey that crescendos with epic 14-minute closer “Handful of Ashes,” where his feedback reaches raga-like levels of abandon thanks to the improvisational craft of his backing group, St Deluxe.

In celebration of the 30th anniversary of The Telescopes,here is the evolution of his underrated and remarkable outfit, whose time to be recognized as one of the quintessential architects of the British experimental rock movement is long overdue.

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The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness

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thank beautifulnoise

This is the kit moonshine freeze rgb

This Is The Kit – the musical project which holds exceptional Paris-via-Bristol songwriter Kate Stables close to its heart – have earned the adoration of peers including Guy Garvey, The National and Sharon van Etten. Their new album and Rough Trade debut, ‘Moonshine Freeze’, is undoubtedly their most compelling and accomplished to date. Produced by John Parish (PJ Harvey, M Ward, Perfume Genius), it began in the immediate wake of its predecessor, ‘Bashed Out’, when days after coming off tour last November, Stables and her band (Rozi Plain, Jamie Whitby-Coles, Neil Smith and Jesse D Vernon) headed into the studio in Bristol. Aaron Dessner of The National also features on six of the album tracks.

Though the album’s songs were already written before heading into the studio, Stables says she had no fierce vision for how they should sound, preferring to let them take shape with the input of her band and Parish. “I’m not yet someone who says ‘I want this album to sound like an 80’s French nightclub’,” she says. “All I can do is write the songs and then step back from them and see what themes or patterns there are, then bring those patterns out so it’s a coherent piece of work, sonically and in terms of feeling.” Sonically, Moonshine Freeze is a beguiling mixture of great musical sophistication and something more guileless — children’s games, songs, incantations and snatches of nursery rhymes. Stables’ voice too is a remarkable thing: in its angles there lies an exquisite strangeness reminiscent of Will Oldham, Magnolia Electric Co, Robert Wyatt, Karen Dalton.

Broken social scene   hug of thunder   slang50120

 

With Hug of Thunder Broken Social Scene created one of 2017’s most sparkling, multi-faceted albums. The 15 members of Broken Social Scene – including returnees Leslie Feist and Emily Haines – refract their varying emotions, methods and techniques into something that doesn’t just equal their other albums, but surpasses them. It is righteous but warm, angry but loving, melodic but uncompromising. The title track on its own might just be the best thing you will hear all year – a song that will become as beloved as “Anthems For a Seventeen-Year-Old Girl” from their breakthrough album, You Forgot It In People.

Its title captured what the band wanted people to feel about the group’s comeback, and how they sound playing together again: “It’s just such a wonderful sentiment about us, coming in like a hug of thunder.”

“Hug Of Thunder” is a panoramic, expansive album, that manages to be both epic and intimate. In troubled times it offers a serotonin rush of positivity: “Stay Happy” lives up to its title, with huge surges of brass that sound like sunshine bursting through clouds. “Gonna Get Better” makes a promise that the album is determined to deliver. That’s not to say it’s an escapist record: Broken Social Scene are completely engaged, wholly focussed, and not ignoring the darkness that lurks outside. But there is no hectoring, no lecturing, but a recognition of the confusion and ambiguity of the world. As the title track closes with Leslie Feist murmuring “There was a military base across the street,” the listener is caught in the division between the notional security provided by national defence, and the menace of the same thing. Its The band’s first studio album in 7 years.

209955 m lo

 

“Something’s Changing” in Lucy Rose. After two albums of feeling her way through the densely-populated landscape of contemporary singer-songwriter music she has picked a point in her career when most people are recycling their hits to bin the satnav, head off the map and commit to a graphically authentic version of her musical self. Now signed to Communion Records, this album is informed by her recent self funded forays into Latin America to headline shows booked by her own fans.

Psb every valley

 

Third album from Public Service Broadcasting, the brainchild of London-based J. Willgoose, Esq. who, along with his drumming companion, Wrigglesworth, and their bass player, keys and horns man extraordinaire, JF Abraham, is on a quest to inform, educate and entertain audiences around the globe.
Released 7th July, on Every Valley Willgoose takes us on a journey down the mineshafts of South Wales valleys. Yet the record is a metaphor for a much larger, global and social malaise, using the history of coal mining to shine a light on the disenfranchised.
The album features guest vocals from James Dean Bradfield (Manic Street Preachers), Derbyshire trio Haiku Salut, the award winning Welsh singer Lisa Jên Brown, and Camera Obscura’s Tracyanne Campbell on lead single ‘Progress’.

Tr351 the telescopes rgb

 

“As Light Return” – The Telescopes are back with their ninth album. Evolving oscillations of guitar feedback screech and howl through thick layers of distortion. Overtones shift and drift and combine on a carpet of white noise. In the eye of the storm, the voice of Stephen Lawrie remains calm, almost detached. He intones a low, trance-like chant. The vocal is buried deep in the mix, the lyrics just barely discernible.

Lips

 

Atlanta’s valiant punks Black Lips release their first album in three years, Satan’s graffiti or God’s art?, on Vice Records. Produced by Sean Lennon at his studio compound in upstate New York throughout 2016, the album is the group’s most musically evolved to date, while still staying true to their original blistering take on fuzzy, dirty rock n roll.

The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective.”

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Originally released March 22nd, 2013

on these recordings the telescopes are-
stephen lawrie, david fitzgerald, joanna doran, robert brooks,
dominic dillon, richard formby & guy fixsen.

the Telescopes second album. was originally released on Creation Records.

Image may contain: one or more people, shoes, night and outdoor

The Telescopes were among the most innovative and challenging yet successful artists in Creation Records‘ “middle period”, a leading part of the wave of sonic experimenters who included Spacemen 3, My Bloody Valentine, Spectrum and Spiritualized. Towards the end of their time with Creation, they made their most fully realized album yet, “#’ (untitled second). This is the first time this great psychedelic album is being released in the US, and it comes with 3 bonus tracks. “The songs are built on acoustic guitars, then the tricked-out electric guitars are laid on top and garnished with bongos, organs, pianos, and all sorts of classic instruments. Stephen Lawrie’s vocals are restrained and semi-emotional and female backing vocals add a touch of sweetness that might otherwise be missing from the record, as the overall atmosphere is very moody and introspective.”

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Generally written off as a Jesus and Mary Chain and Spacemen 3 rip The Telescopes earlier records are a lot more diverse than tag lines may describe. The Telescopes are to shoegaze what The Cro-Mags are to Hardcore. The Cro-Mags started late and therefore benefited from the influence of every major and influential hardcore punk bands of that era. They fused everything that they where influenced by and injected their own new york attitude into it. The Telescopes do a very similar move on their first LP ‘Taste’, and the title itself gives an air of pretension more overt and obvious than the Mary Chain or Spacemen 3 (see also the lyric in There Is No Floor, ‘there is no 13th floor’). The record was released in 1989 and its sound is equally influenced by records like Psychocandy or the Perfect Prescription but these dudes where obviously waaaay stoked on garage punk. Like they are definately down with the Stooges and Iggy Pop but they where probably waaay more excited about The Iguanas or Them. They also have much more of a Rolling Stones influence with a bit of the Buzzcocks

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Our first album Taste. Originally released on What Goes On Records, almost 30 years ago, later re issued on; Cheree Records, RevOla Records/ Cherry Red Records and Bomp Records. Now available to download from our Bandcamp site..

The Telescopes - Hidden Fields

The Telescopes have announced details of their eighth studio album ‘Hidden Fields’.

The album is released by Tapete Records on August 7th including the epic 15 minute ‘The Living Things’.
‘Hidden Fields’ sees the band take a more song-based approach sounding closer to their roots. The full tracklisting for is:
You Know The Way
Absence
In Every Sense
Don’t Bring Me Round
The Living Things

You can hear samples of three tracks below, alternatively the album is now available to pre-order on iTunes with samples of all of the tracks to hear.

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