“…Refusing to conform to anybody’s pre-manufactured idea of how music should be structured or the elements it should contain, Telesma literally dances to the beat of their own drum.”
Didgeridoo, kubing, and dumbek, an aboriginal wind instrument, a mouth harp from the Philippines, and a Middle Eastern drum used for Arabic music respectively, mix it up with the electronics of the Theremin, guitar synth, sampler, programming, frequently disembodied vocals, and an electronic percussive device invented by guitarist Chris Mandra called the manDrum.
Their multi-genre-ational sound drawls from influences such as, but not limited to, prog rock, trance, pop, psychedelic ambient, world, funk, and experimental, O(h)M‘ moves from otherworldly to rock, aboriginal to Middle Eastern, and tribal to electronic, in an often mesmerizing, sometimes epic soundscape full of richly textured musical shapes and sonic constitution.
With an adventurous mix and a grand production, O(h)M is awash in sweeping waves of atmosphere. From the grandiose sound of Chapel Perilous, with its thunderous pounding, to the airy psychedelic’s of Synesthesia and the title track, which seem to just waft from the speakers, Telesma presents a colliding collage of sound that at times threatens to overwhelm you, but never does. Pounding percussion gives way to softer subtler passages, and Telesma crafts a nice balance between intense and delicate.
O(h)M is music without boundaries. From ancient instrumentation to modern-day technologies, Telesma embraces each with equal aplomb and presents them in bold fashion. If you’re looking for something that’s totally different, then you really have to look no farther than O(h)M. It’s a sensory experience that flows from your speakers in torrents of brightly colored sound and unlimited imagination. When was the last time you heard that?
Buy Telesma’s ”mesmerizing” studio album “O(h)M” online here: