The word telescope descends from Greek and is put together from the words tele (far) and skopien (viewing).
It`s Fall, almost Winter, outside it rains cats and dogs. The cover of Zoom is staring at me from the table. With it`s shameless simplicity, it`s yellow, green and blue colours, it`s hidden dots, it`s flow and mathematic sheen..
it says: "Evenin` Sir! I agree... rather nasty outside, isn`t it, but soon it will be Spring again and...I can only say; Music is beautiful!"
Pow! Hooked! Nowadays, in electronic music, one can easily lose oneself in all sorts of theoretical constructions and fundamental discussions.
Between dance-ism and abstractism of the new century, minimalism and maximalism delusions, retro hype and eighties bassline discussions, and the question wether grime, experimental hip-hop or 2-step is the hot shit again. There are only so many such questions that an experienced music lover, or a media led occasional listener can take. The one question that is just not asked enough: Why is music made or heard? Because it is beautiful!
Meanwhile, with the disc inbedded in the player, my bizarre conversation resumes...: "Sir, it`s time for you to meet some new friends! No introduction, as a surprise! Please take your time, Sir!.. Sir, please listen to me!"
I am about to answer, when I realise I am in a discussion with a compact disc. I decide to forget about it and turn up the volume...
And voila! I start to understand.. I don`t need to move at all and really could do with meeting some new friends:
"Nach Mittag" just passed by and is such a beautiful album opener; it sounds as confident as breaking up, a mediation of elegance and chivalry. It reconciles chamber music with baggy pants. It`s as if hip-hop and the band Kreidler have signed on as caretakers. Brilliant!
This easily slides into The Horse. The radiohit. Enough said. Noelle Poeller sings so wonderfully reserved, that the border between track and song seems to disappear, until the chorus and it`s hookline remind us that the game is only beautiful when the ball slams into the back of the net.
Telescope bring the vocals into action as an instrument and that, of course, gives the music the human colour. Not only do the vocal parts seem to sound organic, but actually so do all parts of the total sum. Parts, which could only have involved friends, acquaintances and their varied instruments and sounds. Tracks, that might have sounded somewhat artificial yesterday, have become songs today, without being revoltingly tasteful or terribly clever anti-electronic. No, No, People! "Zoom" isn`t an argument for- or against mature music, but simply an expression of a maturation process, that started in squats and some day will probably return there. In the meantime, they have seen a lot, have a lot to say and have written a lot of songs.
After "So Bad", the last unleashed 12", "Best Western" brings the tempo down to a speed that probably reminds us of a well known french combo with its pop initiatives only appreciated when retro and Versaille are subtracted. But no, this here is no Versaille, it`s Berlin, full of confidence throughout.
We make a jump and change to "Stardust", where we meet our next old friend. The pumping Garage reminds you of the first Rockers Hifi grand Dub-House. It feels really good and is perhaps an example of all those little club music moments on this album, that wash over us like big friendly tidal waves.
Talking of Dub: "Ghoulish", "April" and "Komisches Wetter" finally give Dub an injection of funk, romance, widths and depths in so many ways, it makes us speechless.So difficult to place, where is it coming from and where will it go? On "Zoom", a stream of suprises floats into our ears; hairy guitars, xylophone, trumpet, violins, accoustic guitars, digitals and analogs and of course various keyboard chords and sequencer beats leave us with the always wonderful feeling of not really getting it. What makes it so addictive? That question would probably be the answer to our first one; Why do we make music again?