| The Telescopes No. 4 | |
| Type: | studio |
| Artist: | The Telescopes |
| Cover: | The Telescopes 4 on translucent red vinyl, double platter.jpg |
| Genre: | |
| Length: | 50 minutes |
| Label: | Weisskalt Records and Antenna Records |
The album is notable for Stephen Lawrie's further exploration of unconventional methods in electronic music, the result being reminiscent of "a missing David Lynch soundtrack."[4] The release has been described as "shape shifting audio druidry and stone age free drone repetition. Mindscapes of merge and misheard whispers. Death rattles pulse driven twangs and broken bones."[5]
In an interview with When The Sun Hits, Lawrie expressed the emotive drive behind the experimentation with noise, "Songs are written. Even when they seem to fall from nowhere. But I think and dream in noise."[6]
Part of the musical virtuosity and innovation demonstrated by Lawrie's composing skills included playing the guitar in a non-traditional way thereby disguising the instrument through distortion of sound.[7] As Lawrie explained in an interview with It's Psychedelic Baby! Magazines Klemen Breznikar, some of the guitars were table top guitars laid flat in experimental tunings, manipulated with whatever delivered inspiration. Objects such as crocodile clips, battery operated hand fans, cello bows, tin toys, gear stick knobs, remote controls on the pick ups were all used for experimentation which for Lawrie, turned the guitar into a fresh instrument, causing him to think differently and develop new pathways.
The majority of the songs were written on an EDP Wasp synth which contributed to the deep throbbing sound present throughout the album.[8]
The album has received positive reception and is considered to be an underrated cult classic among music journalists[9] and how it is representative of The Telescopes continued exploration of noise, feedback and the soundscapes developed from such boundary pushing.
NME
Dusted Magazine's Jon Dale highlighted the track All the Leaves, writing "Sometimes The Telescopes surrender to graceful beauty, as on #4's "All the Leaves". These poised, charming melodies recall their untitled second album, where quiescent songs flickered from within a heat chamber, walls glossed with steam and fog."[11]
All music by Stephen Lawrie.
Recorded at The Experimental Health Unit, Wired Studio, Jerry's House, & Far Heath Studio between 2002 & 2004. Mixed at The Experimental Health Unit, 2004–2005. Vinyl pressing by Zenith, 2022.[12]