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viewing 1 To 13 of 13 items
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CD
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TR 480CD
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$17.00
PREORDER
RELEASE DATE: 2/5/2021
The Telescopes have been described by the British music press as "more a revolution of the psyche than a revolution of the sidewalk"; a thread consistent throughout a body of work spanning over 30 years. The Telescopes have constantly pushed at their own boundaries to unravel new pathways of existence, coloring outside the lines of all expectation to reach beyond the realm of natural vision. With a legacy full of eureka moments, intravenously fed through a crack in the cosmic egg, The Telescopes invoke the kind of altered perceptions that time has shown not only withstand repeated listening, but reveal something new whenever one ventures into the depths of their highly influential artistry. At the core of their being, The Telescopes are an all-embracing concern, in every sense, a constant revolution of the psyche exploding endless spores of sound, carriers of warm transmissions seeped in aural innovation that spiral around ones inner receptors to induce a series of auditory illusions that completely immerse the listener in the grip of their own imagination. The most revolutionary act we can all perform is to stand by our calling, to keep doing what we do, for the reasons we are conceived to do so, no matter what. Some call it "The New Weird" but call it what you will, it is born of love. The Telescopes are one of the very few artists that are living proof that this revolutionary act is possible to evolve and sustain free from artistic corruption. Songs Of Love And Revolution is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.
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LP
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TR 480LP
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$22.00
PREORDER
RELEASE DATE: 2/5/2021
LP version. The Telescopes have been described by the British music press as "more a revolution of the psyche than a revolution of the sidewalk"; a thread consistent throughout a body of work spanning over 30 years. The Telescopes have constantly pushed at their own boundaries to unravel new pathways of existence, coloring outside the lines of all expectation to reach beyond the realm of natural vision. With a legacy full of eureka moments, intravenously fed through a crack in the cosmic egg, The Telescopes invoke the kind of altered perceptions that time has shown not only withstand repeated listening, but reveal something new whenever one ventures into the depths of their highly influential artistry. At the core of their being, The Telescopes are an all-embracing concern, in every sense, a constant revolution of the psyche exploding endless spores of sound, carriers of warm transmissions seeped in aural innovation that spiral around ones inner receptors to induce a series of auditory illusions that completely immerse the listener in the grip of their own imagination. The most revolutionary act we can all perform is to stand by our calling, to keep doing what we do, for the reasons we are conceived to do so, no matter what. Some call it "The New Weird" but call it what you will, it is born of love. The Telescopes are one of the very few artists that are living proof that this revolutionary act is possible to evolve and sustain free from artistic corruption. Songs Of Love And Revolution is a solar burst of trance inducing rhythms gripped at the helm by a wall of throbbing bass held in place by a swarm of encircling guitars. Lashed to the mast of this whirling dervish, incantations abound to dispel what is bound. This is the 12th album by The Telescopes, music for a four-piece ensemble that will never sound the same twice in any given environment or to any set of ears.
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CD
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CSR 267CD
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The tenth album from The Telescopes is full of wall-to-wall psychedelic drones, swaying chants, trance-inducing shoegaze, and "suspended-in-space magnificence" (Julian Cope). Stone Tape is a concept album inspired by "Stone Tape Theory" (or "residual haunting"), 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 hypothesis has been known as "Stone Tape Theory" since the cult 1972 TV screenplay Stone Tape by Nigel Neale. Recorded in Powderhorn Minneapolis, The Vicarage, West Yorkshire, and The Experimental Health Unit. Originally released as a limited-edition LP by Italian publishing house Yard Press in 2017 (YP 001LP), this CD edition contains a bonus 14-minute version of the track "The Living Things", recorded in Switzerland in 2018. Digipak with new artwork by Stephen Lawrie. Mastered by Martin Bowes at The Cage. Layout by Abby Helasdottir.
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LP
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YP 001LP
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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 comprising the album have been written, produced, arranged and played by Stephen Lawrie, founder of The Telescopes.
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LP
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TR 409LP
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LP version. Exploding Head Syndrome is a snapping into consciousness, a synaptic charge of analog dissonance saturated through a complex undercurrent of pulsing minimalism, profound in its simplicity. A static haze of electronic distortion drifts in and out of lucidity to a sure propulsion of stone age repetition and heady bass vibrations, the momentum held on a thread of acoustic tension. As warm organs drone around the oscillating bones of enchanted melodies, an electric hive of enclosing guitars encircle Lawrie's trance induced visions, which hang suspended, fractured at the core, until completely enveloped by the gathering swarm. Welcome to the 11th studio album from The Telescopes, their third for Tapete. Consisting of eight new songs and incantations that form a series of sonic convulsions stretching the parameters of intuitive composition to the point of auditory illusion. Conceived in 1987, The Telescopes emerged as innovators in the field of melodic noise, becoming a crucial inspiration to a multitude of artists and listeners alike. The group has consisted of a revolving line-up centered around lead protagonist and founding instigator Stephen Lawrie. With the exception of "Until The End", Exploding Head Syndrome was created entirely by Lawrie himself while immersed in solitude deep in West Yorkshire. As the title suggests, this is the sound of a triggered mind reaching into the depths of his own inner turmoil on a personal quest for basic clarity. Whereas previous albums for Tapete have set a parallel course between song-based structures and freeform impressionism, Exploding Head Syndrome employs almost traditional song writing techniques to achieve a melodic swirl of simplistic refrains capable of lulling the listener into vast sonic dimensions. In the 1700s, William Herschel defined a telescope as an instrument through which a person may view "beyond the realm of natural vision". This is the mantra of The Telescopes. "Until The End" was co-written with Chris Plavidal (Stumptone) and is dedicated to the late Nevada Hill (Bludded Head). Exploding Head Syndrome is the name given by John M. S. Pearce in 1989 to a phenomena described by Robert Armstrong-Jones in 1920 as "snapping of the brain". It is a condition in which a person experiences unreal noises. The front sleeve holds an image of a blank sheet blowing in a breeze. A natural light phenomena occurring at the time the photograph was taken gives the illusion of a face.
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LP
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BANG 126LP
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At last, The Telescopes's first four EPs are compiled as Early Studio Recordings, a reissue of their studio recordings from 1989 to 1990. Not only that, but they have been remastered to achieve the deserved sound of this legendary British band leading the late '80s and early '90s shoe-gaze and melodic noise scene alongside the likes of The Jesus And Mary Chain. The Telescopes, with their leader Stephen Lawrie, recorded these EPs in the same period as their first album, Taste (1989).The band's sound is tons of guitar noise and distortion covering beautiful melodies; this music is an absolute must in order to understand all indie and underground music coming from the U.K. and worldwide afterwards.
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CD
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TR 409CD
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Exploding Head Syndrome is a snapping into consciousness, a synaptic charge of analog dissonance saturated through a complex undercurrent of pulsing minimalism, profound in its simplicity. A static haze of electronic distortion drifts in and out of lucidity to a sure propulsion of stone age repetition and heady bass vibrations, the momentum held on a thread of acoustic tension. As warm organs drone around the oscillating bones of enchanted melodies, an electric hive of enclosing guitars encircle Lawrie's trance induced visions, which hang suspended, fractured at the core, until completely enveloped by the gathering swarm. Welcome to the 11th studio album from The Telescopes, their third for Tapete. Consisting of eight new songs and incantations that form a series of sonic convulsions stretching the parameters of intuitive composition to the point of auditory illusion. Conceived in 1987, The Telescopes emerged as innovators in the field of melodic noise, becoming a crucial inspiration to a multitude of artists and listeners alike. The group has consisted of a revolving line-up centered around lead protagonist and founding instigator Stephen Lawrie. With the exception of "Until The End", Exploding Head Syndrome was created entirely by Lawrie himself while immersed in solitude deep in West Yorkshire. As the title suggests, this is the sound of a triggered mind reaching into the depths of his own inner turmoil on a personal quest for basic clarity. Whereas previous albums for Tapete have set a parallel course between song-based structures and freeform impressionism, Exploding Head Syndrome employs almost traditional song writing techniques to achieve a melodic swirl of simplistic refrains capable of lulling the listener into vast sonic dimensions. In the 1700s, William Herschel defined a telescope as an instrument through which a person may view "beyond the realm of natural vision". This is the mantra of The Telescopes. "Until The End" was co-written with Chris Plavidal (Stumptone) and is dedicated to the late Nevada Hill (Bludded Head). Exploding Head Syndrome is the name given by John M. S. Pearce in 1989 to a phenomena described by Robert Armstrong-Jones in 1920 as "snapping of the brain". It is a condition in which a person experiences unreal noises. The front sleeve holds an image of a blank sheet blowing in a breeze. A natural light phenomena occurring at the time the photograph was taken gives the illusion of a face.
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2LP
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RAD 8010LP
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RSD 2018 release. 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 four of their 12" singles on Creation as well as a 1991 John Peel session and other bonus tracks. Deluxe double-LP includes double-sided poster insert; 180 gram vinyl; Limited edition (numbered).
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CD
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TR 351CD
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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. "My specific intention is always to create a listening experience reaching beyond the realm of natural vision. I see duality and multiple meaning everywhere, this is reflected in the way my inspiration is formed, of impressions released in such a way where the meaning is subjective to the listener." The Telescopes are back with their ninth album, As Light Return. Founded by Lawrie in 1987, the band has been through various phases and a long list of different members and associates. This time he is joined once again by members of the band St Deluxe, tracking the album at the esteemed Riverside Music Complex in Glasgow. The only constant member of The Telescopes, however, is Stephen Lawrie himself. The variable constellation has become part of the concept. As Light Return is The Telescopes' second album for the Hamburg label Tapete Records, following the release of Hidden Fields in 2015 (TR 318CD/LP). The new album maintains the balance of its predecessor, setting a parallel course between song-based noise structures and freeform impressionism, while containing some of The Telescopes' most crucial listening so far. "Every record I make is different from any others I have made so there is no control to measure against except to say that The Telescopes house has many rooms and, like the previous album, this album takes a peek inside every room rather than remaining in one. Yet despite having an uplifting album title, the subject matter on these recordings is a lot darker than on Hidden Fields." Tracks like "You Can't Reach What You Hunger", "Hand Full Of Ashes" as well as the album's similarly titled 14-minute closer "Handful Of Ashes" seem to contain an innate wisdom for the listener to decipher. After thirty years of pursuing his singular artistic vision, Stephen Lawrie is more focused than ever. These songs pay no heed to conventionalities. This music has an implicit power. The listener is free to enter a vast sonic universe and determine a personal set of coordinates.
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LP+CD
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TR 351LP
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LP version. Includes CD. 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. "My specific intention is always to create a listening experience reaching beyond the realm of natural vision. I see duality and multiple meaning everywhere, this is reflected in the way my inspiration is formed, of impressions released in such a way where the meaning is subjective to the listener." The Telescopes are back with their ninth album, As Light Return. Founded by Lawrie in 1987, the band has been through various phases and a long list of different members and associates. This time he is joined once again by members of the band St Deluxe, tracking the album at the esteemed Riverside Music Complex in Glasgow. The only constant member of The Telescopes, however, is Stephen Lawrie himself. The variable constellation has become part of the concept. As Light Return is The Telescopes' second album for the Hamburg label Tapete Records, following the release of Hidden Fields in 2015 (TR 318CD/LP). The new album maintains the balance of its predecessor, setting a parallel course between song-based noise structures and freeform impressionism, while containing some of The Telescopes' most crucial listening so far. "Every record I make is different from any others I have made so there is no control to measure against except to say that The Telescopes house has many rooms and, like the previous album, this album takes a peek inside every room rather than remaining in one. Yet despite having an uplifting album title, the subject matter on these recordings is a lot darker than on Hidden Fields." Tracks like "You Can't Reach What You Hunger", "Hand Full Of Ashes" as well as the album's similarly titled 14-minute closer "Handful Of Ashes" seem to contain an innate wisdom for the listener to decipher. After thirty years of pursuing his singular artistic vision, Stephen Lawrie is more focused than ever. These songs pay no heed to conventionalities. This music has an implicit power. The listener is free to enter a vast sonic universe and determine a personal set of coordinates.
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LP
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RAD 8006LP
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Radiation Deluxe Series present a reissue of The Telescopes's self-titled second album, originally released on Creation in 1992. Formed in 1987, these British shoegaze/space-rock mainstays drew inspiration from the '60s psych and rock scene, particularly The Velvet Underground, The 13th Floor Elevators, Love, and The Byrds, as well as contemporaries such as My Bloody Valentine, and The Jesus & Mary Chain. Their second LP is where they truly took off and found their original voice with a tight batch of hook-laden tunes. An essential piece of UK shoegaze and psychedelia, The Telescopes is back in print on vinyl for the first time since 2009.
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CD
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TR 318CD
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Founded in 1987 by Stephen Lawrie, The Telescopes have been mining a unique anti-myopic seam of highly influential experimental, drone, noise, dream, and psych ever since. Their first record was a split flexi-disc with Loop on Cheree Records. After a two more critically acclaimed singles for the label, they moved to What Goes On Records, with which they released another two EPs and their 1989 debut album, Taste, all of which found their way to the top of the UK independent charts. Tours followed with Spacemen 3, Primal Scream, and The Jesus and Mary Chain, and it wasn't long before The Telescopes were headliners themselves; Bark Psychosis, Whipping Boy, Slowdive, Bleach, The Cranes, and Ride all played some of their earlier shows supporting them. In 1990 the group appeared at one of the UK's biggest festivals of the time, Reading Festival, where they were one of the few bands that wasn't bottled off the stage. However, the increasing violent interactions with audiences at their shows saw the group step away from their noise origins and head toward a more introspective, psychedelic sound. It was around this time that What Goes On folded and Alan McGee stepped in to release the group's material on his Creation Records. The group released their second album and a string of EPs for the label, working with Douglas Hart (The Jesus and Mary Chain) on their videos, visual artist Paul Cannel on their sleeve work and Laika's Guy Fixsen in the studio. In 1992, the group began an eight-year hiatus, resuming output in the year 2000 with a revolving lineup and a stream of well-received releases. In 2011 Portishead invited The Telescopes to play at the first ever ATP festival at Alexandre Palace in London, and the following year The Black Angels and Reverberation Appreciation Society invited them to Austin Psych Fest. Following the 2013 release of their seventh LP, Harm, on Seattle-based label Neon Sigh, the group toured almost non-stop over the following two years, covering Scandinavia, Europe, Russia, Latvia, Estonia, the Ukraine, the UK, USA, the Middle East, and Ireland. Hidden Fields, The Telescopes' eighth album, is an unexpected return from the group's recent expeditions into the outer reaches of free-drone noise -- the psychiatric sounds of The Telescopes in a concise inner sensory rush, and their most song-based output in some time. Recorded in Glasgow with St Deluxe.
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LP+CD
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TR 318LP
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LP version. Includes CD. Founded in 1987 by Stephen Lawrie, The Telescopes have been mining a unique anti-myopic seam of highly influential experimental, drone, noise, dream, and psych ever since. Their first record was a split flexi-disc with Loop on Cheree Records. After a two more critically acclaimed singles for the label, they moved to What Goes On Records, with which they released another two EPs and their 1989 debut album, Taste, all of which found their way to the top of the UK independent charts. Tours followed with Spacemen 3, Primal Scream, and The Jesus and Mary Chain, and it wasn't long before The Telescopes were headliners themselves; Bark Psychosis, Whipping Boy, Slowdive, Bleach, The Cranes, and Ride all played some of their earlier shows supporting them. In 1990 the group appeared at one of the UK's biggest festivals of the time, Reading Festival, where they were one of the few bands that wasn't bottled off the stage. However, the increasing violent interactions with audiences at their shows saw the group step away from their noise origins and head toward a more introspective, psychedelic sound. It was around this time that What Goes On folded and Alan McGee stepped in to release the group's material on his Creation Records. The group released their second album and a string of EPs for the label, working with Douglas Hart (The Jesus and Mary Chain) on their videos, visual artist Paul Cannel on their sleeve work and Laika's Guy Fixsen in the studio. In 1992, the group began an eight-year hiatus, resuming output in the year 2000 with a revolving lineup and a stream of well-received releases. In 2011 Portishead invited The Telescopes to play at the first ever ATP festival at Alexandre Palace in London, and the following year The Black Angels and Reverberation Appreciation Society invited them to Austin Psych Fest. Following the 2013 release of their seventh LP, Harm, on Seattle-based label Neon Sigh, the group toured almost non-stop over the following two years, covering Scandinavia, Europe, Russia, Latvia, Estonia, the Ukraine, the UK, USA, the Middle East, and Ireland. Hidden Fields, The Telescopes' eighth album, is an unexpected return from the group's recent expeditions into the outer reaches of free-drone noise -- the psychiatric sounds of The Telescopes in a concise inner sensory rush, and their most song-based output in some time. Recorded in Glasgow with St Deluxe.
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viewing 1 To 13 of 13 items
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