The Weekly Coos

When I discovered Telenova, I was gripped by their perky and thrilling energy when they covered “Hung Up” by Madonna for Triple J’s Like A Version. From there, I dug into their two EPs, and like most synth-pop trios, I became hooked. However, not much of their originality struck me as much as their songwriting and the emotional depth that utilizes luminous imagery. It’s about the how, not the what, and that’s the hook; these songs grow within themselves to explore parallel content with creativity. It’s what builds Time Is A Flower into this solid debut, which showcases uniqueness through its varying layers. I’m a sucker for these types of pop trios, whether it’s Chvrches or Ladytron, as certain sensibilities that made me a fan are present here—so bias aside, listening to this project felt different, and much of that comes from what feels like maturity in the production, where they find enough space for live instrumentation alongside the electronic elements, like piano and synths. It isn’t treading new waters in the ecosphere it encompasses, but it’s a debut worth checking out, even with its flaws.

Telenova’s previous projects have been self-produced and felt confined to their strengths. Though that continues to be the case, there is some growth in conception. It’s only piece by piece that I notice them breaking through that shell, and having other producers help mold Time Is A Flower opens the door for new possibilities. One moment you are listening to a sad club-pop song, and the next you get something with a little more rock tinge. It’s all enveloped in one atmospheric dome but with enough free space to work with what’s on their mind. It’s eccentric, but not all songs can hit the nail on the head like the darker EDM textures of “Power” or their good use of minimalism with the pop rock track “Discothèque Inside My Head.” So yes, it’s not perfect, but what debut is—well, except for Come Away With Me by Norah Jones—that’s okay, though, and it revels in meditations from the songwriting, carrying a lot of vulnerability. When it’s broken down to a powder, good songwriting is subjective, and for me, what made it stand out was how it doesn’t linger on similar themes from song to song, building dimensions to the emotions of lead singer Angeline Armstrong.

Telenova sings about longing, relationships, déjà vu, some existentialism, and more; however, why it’s a highlight beyond its surface layer, is how images get painted. As people say, you can visualize by reading, and that’s how they maneuver their writing, like with “Teardrop,” where she speaks about writing and how thoughts circulate in her head, creating this gloomy presence internally when facing the reality of how these words can be taken. “Margot” looks at one’s self-destruction by allowing envy to be a dominating mentality running through your mind; “Discothèque Inside My Head” leans into isolation but with a shred of positivity as we have those moments when we want to escape and be around strangers. It’s something that permeates from the stressors around you, but it’s more than that, and that comes from the varying perspectives written through other songs. It’s a definitive high that can make the mildest of productions feel more complementary to what becomes the focus. Fortunately, there is growth in their sound; that emanates from having talented co-producers to help elevate their sound further than what we get with their EPs, even when it’s three songs.

Chris Taylor of Grizzly Bear and Styalz Fuego, who has co-produced/produced some quality club and pop bangers for artists like Charli XCX and Troye Sivan and Fuego gives us the amazing track “Power.” Though their presence and influence aren’t running on a high, it’s collaborations that you grow from learning, and in doing so, some of their more broken-down instrumentations feel more refined and confined to the onus behind the solid debut. Sometimes we hear the opposite, and them finding ways to blend tone and delivery continues to be a reason why they continue to grip my ears, like the floating nature of “Heaven’s Calling,” which, like others, has the bubbly presence of hope and lingers through the lyrics and melodies imbued in the track. The significant highs level the album into being more than good, as it still stumbles through first album characteristics, like lack of a solo identity and opting for a more streamlined flow that keeps steady. Unfortunately, it may not be enough for all, as their sound treads familiarity that you’d rather give similar artists more time, but Telenova is worth every minute you can spare.

Telenova’s impact on their debut album is high, and I’m here for whatever comes their way in the future. They have a distinguished sound that separates them enough to be their person and the live instrumentations help, specifically when synths aren’t the biggest component. It helps them traverse through the fires of a crowded genre and find a place where they can shine as equally as others. If not for the writing, I’d probably be more mute about the overall quality since many tracks are playing it safe, like “January” and “Preamble,” but sitting back with the melodies and words helped bridge together that feeling I got from seeing them perform on Triple J. Give them a spin, they are one of the new bands I’m excited to see reach new heights.