http://www.myspace.com/thetelescopes

The Telescopes were formed in 1987 by Stephen Lawrie and could best be described as a noise/space rock band - the Jesus and Mary Chain, My Bloody Valentine and Spacemen 3 being influences and contemporaries.

Their debut release was a split flexi disc with Loop on the Cheree label in 1988, which was given away with the Sowing Seeds fanzine. There followed their debut single, "Kick the Wall", and "7th# Disaster" also on Cheree Records. They moved to the American What Goes On Records and released their debut LP, Taste and "The Perfect Needle" single which is perhaps their most famous song. A live album appeared on Fierce Records and following What Goes On’s bankruptcy they signed to Creation Records.[2] In contrast to Taste's noise-rock, a more laid back, baggy influenced sound followed, described by journalist Alexis Petridis as having "an almost fragile sense of elegance and melody", and the band scraped the lower reaches of the UK singles chart with the single "Flying", and released The Telescopes, their second album, in 1992. Lawrie explained the change in direction: "Your idea of perfection changes as you move on. I think we still hold the same approach to our music now, we still try just as many mad ideas, it's just a lot more subtle and works to a different end".

They toured again with a different line-up, new sound and all new songs in 1994 and later evolved into Unisex releasing a number of records. Unisex were Stephen Lawrie (Vocals) Jo Doran (Guitars/Backing Vocals) Nick Hemming (Guitars/Keyboards) Dan (Drums) Foz (Bass)

In 2002 they made a surprise return with "The Third Wave" on Double Agent Records. In 2005 they released their fourth album "The Telescopes #4" on their own Antenna Records. By this time they were a core of just Stephen Lawrie and Jo Doran, with additional member Lorin Halsall (a member of The Dust Collectors), and were a much more experimental band specialising in electronic soundscapes. In 2006 The Telescopes line up again changed to Stephen Lawrie and Bridget Hayden. This incarnation continues in the experimental noise terror direction which has occupied The Telescopes since the turn of the 20th century. They continue to perform live and release records. The band were chosen by Portishead to perform at the ATP I'll Be Your Mirror festival that they curated in July 2011 at London's Alexandra Palace.

BLACK LIGHT WHITE LIGHT
At kalde Black Light White Light debutanter er i virkeligheden en tilsnigelse, for den københavnske retroglade trio er garvede musikere med mange koncerter under vesten. De har udover den hjemlige andedam spillet i England, Sverige og på de højt estimerede festivaler SXSW i Austin og NXNE i Toronto. Derudover bidrager de bl.a. til Setting Son’s og Emma Acs’ musiske udladninger, så det er med andre ord en toptunet treenighed af velbevandrede og stilistisk sikre musikere, Black Light White Light er gjort af.

Og det kan i den grad høres, for Infrared Daylight er ovenud klar i sin udmelding, når det kommer til 60´er inspireret psykedelisk rock af den skæve, men samtidig særdeles melodistærke slags. Er man til moderne arvtagere af den psykedeliske bølge fra San Franciscos kystområde spundet ind i fængslende guitarriffs, basnoter med masser af groove og laid back døsige vokalharmonier, der veksler med mere slagfærdige punchlines, når den musiske kraft kalder på muskler og råstyrke, ja så er den sorthvidt kolorerede trio et godt bud på en vinder.

I flæng nævnes bands som Black Angels, Brian Jonestown Massacre, Dandy Warhols og Black Rebel Motorcycle Club, som musikalske paralleller til bandets tag på garagerock, retrospektiv shoegaze og gedigen 60´er psych med et overordentligt velsmurt twist af pop.

Det er dygtigt, gennemtænkt og veludført og Black Light White Light kan deres genre-metier til fingerspidserne, samtidig med at de implementerer deres inspirationskilder og de hovednavne de har supporteret gennem tiden fornemt, men det kan samtidig blive deres hæmsko, for det er indimellem uklart hvor bandets selvstændige identitet egentlig befinder sig. I hvert fald springer det i øjnene, at for hver gang et nummer afvikles, sidder jeg med en lille men signifikant bismag af noget ”hørt før” blot i adskillige andre konstellationer. Ikke desto mindre er der melodisk substans, hjerte, nærvær, tilbundsgående melodilinjer og tekniske formmæssige kvaliteter nok på Infrared Daylight til, at man er komplet ligeglad, når skiven spinder mescalinskævt, men alligevel elegant derudaf.

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