We have reached Stephen Lawrie, mastermind of The Telescopes, while he was packing to embark in a very long tour that brought them on stages all over Europe. A well deserved trip after the release of new album “Hidden Fields” – out early August 2015 – on Hamburg-based Tapete Records. A work so dense and thick to be worth more talks with Stephen, about its genesis and everything’s gravitating around The Telescopes universe. There are bright stars, supernovas exploding and black holes to run away from, as you can read here.
Q – In the press release for Hidden Fields you define your sound as “Psychiatric”, which is taking to extreme consequences the use of the now abused prefix “Psych”. Is it just a joke, or the choice of this word has a meaning?
SL – Psych music is a common thread throughout The Telescopes records, but I agree, with over use the phrase has lost potency. Quite a few of the bands now associated with the genre seem like pop groups, harking back to the sounds of the 60s without really adding anything, which is fine but it doesn’t take me there.
I wrote Taste, Harm and Hidden Fields after receiving psychiatric help. Writing assists me in making my own sense of things. I feel less programmed for it. More human. I was just acknowledging that side of The Telescopes when I referred to our sound in that way. It’s more relevant to it than 60s music.
Q – I had the chance of seeing The Telescopes live not a few times. What I like is that everytime is different, you just do not know what to expect and what direction the night might go. How would you describe your approach on stage, and how do you feel the experience from the inside?
SL – It’s just what happens, there’s no method or formula behind it. It’s like being in a trance or a spell; you have to become part of the music.
Q – You always had and are going to have a very intense live schedule. It doesn’t look like The Telescopes are a choosy band when it comes to where and when to perform. What’s driving you in wanting to play as much as possible?
SL – Playing live is crucial to The Telescopes music. It’s a reminder of everything that’s important, it’s beneficial to the creativity.
Q – I know that the band’s line up is quite flexible, and you employ different musicians in different occasions. What determines your choices?
SL – The music determines the choices, along with people’s availability and geographic location.
Q – Having been there quite often, could you tell the differences in being a musician / artist in Europe and in the States?
SL – Despite the necessity most people have for music in their lives I’d say that in my experience, being a musician is hardly respected as a legitimate pursuit anywhere.
Q – You have played in Israel, a controversial country where a few musicians refused to play as a political statement. What’s your point of view on this and how it affected your decision to go there?
SL – We also played in Russia just before it all kicked off in Ukraine; we played there as well, in Kiev. We don’t play for governments; we play for people. The Telescopes are all embracing. I have no idea what belief systems audience members that come to London or Paris shows have. If I were to start boycotting countries because of their government’s then I would have to boycott the UK and America.
I don’t support the Israeli government; I don’t support the current UK government. The Telescopes don’t support any political agenda. Some of the people who play with me chose not to go, I respect their decisions entirely and they respect mine.
Personally, I questioned whether or not I could justify boycotting a whole race of people anywhere for the actions of their government. Why should people always have to suffer the consequences? Shouldn’t governments be accountable for their own actions?
I don’t imagine the Israeli Government care either way if a minority group in their society are deprived of witnessing The Telescopes music; it doesn’t affect them.
Ultimately, it felt ignorant to sit in judgement from afar so I had to see for myself. I think demonising artists for going there diverts attention away from the real issues.
Q – Hidden Fields have been recorded in Glasgow with St. Deluxe. Can you tell us more about them and how the collaboration started?
SL – St Deluxe are Jamie Cameron, Brian McEwan and Ross Cameron. They have recorded for Slaughter Joe Foster’s Poppydisc label, Dream Machine Records and they have worked with Calvin Johnson producing them. Ross and Jamie do some excellent work with bands and musicians at Riverside Music Complex in Busby. Some of them have also played with the BMX Bandits and with Frances McKee.
Either Joe Foster or Martin Kirwan initiated collaborations between us. Martin used to play with St Deluxe and sometimes helps out with The Telescopes; he appears on Hidden Fields. I played an acoustic show in Glasgow where they joined me for a couple of songs and it grew from there. They’ve always had a great feel for The Telescopes music.
Q – Was the material for the album fully written before recordings or did you wanted space for improvising and experimenting during the sessions?
SL – Each song was fully written before it was recorded, but I left some passages open and directed everyone with a nod or a count when it was time for a change. Some of the overdubs were inspired / improvised in the studio; others were conceived back home in West Yorkshire.
Q – You’ve covered The Stooges “I Wanna Be Your Dog” for Fuzz Club Split 10” series. What about the choice of this song, that’s definitely a punk rock classic?
SL – Casper from Fuzz Club Records requested the song specifically. Casper said he thought all the best Psych music was basically rock’n’roll and he felt The Telescopes understood this. He thought it would be great if we covered it.
I grew up with the song; it was one of the first things I played in a band. So I was certainly taken by the idea. I’ve played it so many times. The version on the TV Eye Live LP was recorded on my 8th birthday.
The Eureka moment for me was adding an A# drone to the constant E drone throughout the original version, and playing it on a guitar instead of a piano. The harmonics of that gave me a slightly different option for the vocal register. I also had an idea for a more primitive approach to the rhythm. Those ideas gave me a way in for The Telescopes version. Taking on The Stooges at their own game would have been futile.
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