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Telescopes - On a Wing and a Prayer
A recent Maker reviewer described them as 'the band that time forgot.'
But EVERETT TRUE discovered, The Telescopes are still going strong and
their new 'Flying' EP is their best record yet
Pic: Steve Gullick
WE'RE SITTING IN THE CAFE AT THE
Victoria & Albert, talking culture. We've seen
(and appreciated) the Lee Friedelberg
photographs, we've witnessed the giant
plastic cast reproductions of famed Italian
artifacts, we've all made the nominal
"donation" they charge visitors at the door.
We've admired the Indian brass-work.
We've had our fix of ancient cultures.
So now we're slumped round a circular
wooden table, eating stodgy chocolate cake,
drinking tea and hi-talutin' lager, The
Telescopes and me, talking present-day
culture, as represented by a review Simon
Price did of the band a few weeks back. In it
he called them "the band that time forgot",
putting forward the theory that perhaps The
Telescopes took all the shit the next
generation managed to avoid - about
stealing from Loop and the Valentines and
'88, daring to be young and insouciant
about what may have come before - and
have thus had their popularity maybe
permanently stunted.
So now we're getting heated and
wondering about the merits (or otherwise) of
The Scene That Clones Itself- something The
Telescopes most definitely have nowt to do
with to the new single later.
"It's all bollocks, innit?" Dave their slightly rambunctious guitarist, opines thoughtfully.
It's not not as cut and dried as that," Steve
(vocals) remarks. "We've never had
anything in common with bands like Lush
and Slowdive. We've been quite
misrepresented in some ways as just being
subtle Valentine copyists - early on we had a
lot of things we took from them, but people
forget they were exactly the same. The more
popular you become, the more people are
willing to ovrlook things like that.
'There's a lot of bands in the current scene
who just want to be the Valentines, but we got
over that quite a while ago."
You want to be strip-o-qrams now?
"It's laugh a minute with old ET here," Rob
(bass) comments.
"You've got to remember a lot of the bands
coming up now haven't reached anything
like our maturity yet", Dave adds. "We've done
our growing up in public, we know what it's
like."
Jo: "Next question!"
THE Telescopes have been growing up.
Growing into confusion. Realising that as
they get older life gets anything but easier,
that what once seemed so clear-cut and
diamond pure in the arrogant light of youth
now has so many twists, so many turns that
it's damn near impossible to pin down
anything. Life's confusing and then you die.
"I thought that by the time I reached 23, I'd
have learnt a few of the secrets of the universe
or something," Stephen agrees. "But I'm on
my way there, and the closer I get, the more
confused I feel."
These changing attitudes are reflected in
their new songs. Where Stephen used to
sound frighteningly intense, desperately
obsessed on songs like "Precious Little", "To
Kill A Slow Girl WaI6ng", "The Perfect
Needle", now his voice is positively laidback,
blurred way down in the mix, threaded
confusingly with Jo's smokey harmonies.
Sitars and organs and backwards guitars
slip in and out seemingly at random on the
new single, "Flying", drums area rolling
savannah, tunes glow with new-found
warmth.
The new EP sounds as if was part of a batch
of opium-induced outtakes from The Beatles'
"White Album" (second track, "Soul Full Of
Tears", particularly). Well, like something
from the "White Album"if John and Paul bad
gotten to hear the Primals' "Higher Than The
Sun" first.
But it doesn't take a prophet to realise it'lI
- never make it to "To p of The Pops". In fact,
The Telescopes will be lucky if "The Chart
Show' even play their video-despite its first
week showing at Number Two in the indie
charts, it got passed over for a song five places
further down the pack.
Do The Telescopes care? Probably. But they
won't show it- instead they'll revel in their new-
found sense of the sound of confusion. Steve tries
to clarify their approach further.
"If I walked into this roam and let auto massive
scream and then sat in the corner and was really
quiet for the rest of the day, everyone would think
I'm a rowdy bastard," he says, looking round at
his fellow diners. "And they'd be regarding me
with suspicion, wondering if I'm gonna do
something strange again. That's the effect I wont
to achieve with The Telescopes' music. We put
things in our songs for a reason - we don't just
walk around in this great big daze, chucking
things in at random.
"Sometimes we do it so we can personally sit
back and laugh at them, but then when people
take the bait you start to wish you hadn't because
it undervalues the music."
QUESTlON: what are The Telescopes attempting
to put across through their music? ANSWER:
whatever it is they're feeling at the time.
"We had on English teacher who always used
to soy that when you're writing, you should write
down things so that the reader can experience
things you're experiencing, not to take it for
granted that they will," says Jo in that slightly
harsh Rita Tushingham voice of hers. "Listening
to some of our old songs now, we can see that we
left out half of what we wanted to put in, that half
of them ore still in our heads.
"Sometimes when you read reviews of concerts,
the writer will put across the exact same feelings
you felt watching the band," she continues.
"And that's what we're trying to achieve: to
inspire the exact same feeling we had when
we were."
Do you think The Telescopes ore more or less
pure than when they started out?
"More," says Jo defiantly. "We can't use our
record player at the moment because the
amp's been taken from the stereo to the four-
track. You stop listening to other people's
music to make your own."
"More," says Steve facetiously. "Nobody's
allowed to smoke in the band now. Apart
from alcohol there's absolutely no drugs
allowed in this band. What we do is we've got
this massive flootation tank in Dominic's
house and we've all developed the technique
of astral-planing. We're purifying our souls."
"Flying'is out now on Creation.
Originally appeared in Melody Maker August 10, 1991. Copyright © Melody Maker
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