Telescreens
Telescreens may be young, but they’re rising on a fast trajectory to stardom. Based out of New York, the four-piece band includes Jackson Hamm (vocals and guitar), Austin Brenner (bass), Josiah Valerius (keys and synth), and Oliver Graf (drums). Telescreens’ sound is classic rock with a twist, made unique by their alternative addition of keys and synth. They put on high energy live shows that bring the house down – we can see why they’ve become so popular. If their goal is to be the biggest rock band in the world, they’re off to a great start. The foursome have accumulated hundreds of thousands of monthly Spotify listeners and continuously sell out one venue after another in New York. Where do they go but up?
We sat down with Telescreens (and their producer, Alex Poeppel) before their show at the Bowery Ballroom, where they answered a few questions for the groovement.
How did you all originally meet and how did you form the band?
Oliver: Jackson, Austin and Josiah were all in the same year at college at NYU. I also went to NYU, but I’m a couple years younger. They all met in the music program, and I think Josiah lived on your floor?
Jackson: You don’t know the story? Skip straight to when we met you.
Oliver: They all met in college and started making music together, and it was all fine and dandy.
Jackson: We kinda sucked ass, and then Oliver Graf came in.
Were you actively looking for people to play with?
Jackson: We were trying to be the biggest band in the world from the jump.
Oliver: They started working on the first album, The Return, which came out at the end of 2020. They were all doing that, had some drummers before, tried no drummer. It’s just hard with the amount of equipment on stage.
How did Oliver become your drummer?
Alex: No one can drum like Oliver can. Let me just say as their producer, I’ve never encountered another drummer like this guy.
Oliver: It was just the right place at the right time. I’ve known Jackson for a million years. In middle school, my best friend growing up was Jackson’s brother. So I used to come over to the house a lot just to hang out with Theo, who’s my friend and Jackson’s younger brother. And Jackson would steal me. They had a cool little garage studio with a sick drum set and amps and everything. Jackson would come and be like, ‘come on, five minutes.’ And it would be like two hours. And we’d play all of Nevermind front to back.
Jackson: Those were the days.
Oliver: I went away and I kind of stopped playing drums. I was going to school for normal stuff and I thought I was done with music. Fortunately, I ran into Jackson on the street one day, just in New York. And he was like, ‘do you still play drums?’ and I was like, ‘yeah kind of. But not in a while.’ He was like, ‘hey we have a show at the Mercury Lounge at the end of the month. Do you want to try out?’ He sent me the demos, and we got in the studio, it took some trial and error, but it hit from there.
Josiah: We all met at school freshman year. I met Jackson first out of everybody. He put me onto weed and rock ‘n’ roll. Before that, I was doing a lot of hip hop and gospel music. I wasn’t really into it, or didn’t know the language. Then we started hanging out, and we connected philosophically about music and the power of it. And also just passion about music. Some kids weren’t there (at NYU) because they were passionate, some kids were there because they had rich parents, and they wanted to do music. We connected over that, hanging out a lot and making music that was blowing our minds. Austin came into the picture because he was across the dorm hallway from where we were hanging out and making music.
What is the origin of the name?
Jackson: It comes from George Orwell’s “1984.” It’s the monitoring system of the thought police. We wanted to repurpose the name as a reflection of humanity and society.
“Phone Booth” was originally released August 26th of last year, which is exactly a year today. That’s a good sign for the show today.
Oliver: She did her homework.
Josiah: That’s actually crazy.
Oliver: You can’t plan this shit.
Can you talk about the creative process of that single?
Austin: I believe one day Jackson came to the band and played a little guitar riff.
Jackson: No, tell them how it really happened.
Austin: Well, he said ‘Austin, I’ve got a good song.’
Jackson: You’re butchering the story. I wanted Austin to say this because I wrote the song while Austin was playing video games next to me. And he was super fucking tired. And I kept trying to get him to listen to it, and he refused until the next day.
Austin: That’s what happened.
Jackson: Then we took it to the band and played it in rehearsal, and it was one of those that fell into play immediately. It took no thought, no effort.
The song now has over 500,000 streams on Spotify. When writing that song did you have this feeling of, ‘oh this is going to be it,’ or are you surprised by the success?
Jackson: I actually thought it was a nothing song. It was like ‘ah whatever,’ it’s three chords the whole time.
Oliver: Same.
Jackson: It’s kind of like mid, you know. Austin from the gun said it was the best one.
Josiah: Yeah he said it would be a smash and it is.
Jackson: Here’s what I’ll say. When songs are effortless, they’re the best ones. That whole song was written in about five minutes. I always try to pay attention to that, if it all comes together without any thought it’s coming from somewhere else.
Was that the first song you had written that was sort of a different vibe than your debut album The Return?
Oliver: No, not even close. For the EP that just dropped, the first one Jack wrote was “Stare” and “Wide,” which are the first ones chronologically you wrote. When the pandemic hit, we all were dispersed and Jackson and I lived ten minutes down the street from each other in LA. Jackson and I rehearsed every day. I went over to that same garage studio I used to go to when I was 13 years old, and I came back there and we practiced and played for six hours a day. All of the old setlists we did, I remember the first two songs were “Stare” and “Wide.” And now it’s the name of the EP and the first two tracks.
Is the ‘yeah’ at the beginning of “Phone Booth” and “Games” going to be a trademark? Was that intentional or not?
Alex: That’s an awesome question.
Jackson: It’s kind of something I do to check the mic to make sure the levels are right. And it’s just become a thing that I do.
Alex: If I can add, as the guy who recorded the record, the start of each take Jackson typically yells or, in “Times Like These”, you hear him yell at the beginning. We didn’t edit that in. That’s a live take, the whole band is playing that live. He counted off, he screamed and started playing the riff. When we listened back to it we couldn’t get rid of it.
Oliver: It’s so natural.
Can you give a brief overview into the songwriting process for the EP?
Jackson: Trust god. Trust the universe, and get out of the way.
Regarding your album, Stare Wide, you have teased different dates for the release starting midway through April until it was confirmed to be released August 25th, 2023. What was going on behind the scenes for the delay?
Alex: Mixing is hard. Mixing a record is hard as shit. When you’re trying to do maximalist shit.
Jackson: Sometimes songs come really easy, “Phone Booth” came very easy, and the reset of that EP was a battle.
Did you struggle creatively?
Jackson: Technically. On a sonic state. We wanted to make a record that neared the sounds of the greatest that we’ve ever listened to. It was about Nevermind and beating those sounds, talking about how Butch Vig and Andy Wallace mixed “Smells Like Teen Spirit” alone for six months. Just that one fucking song. It was about giving those songs the same amount of detail as those legendary songs.
Alex: It wasn’t like, ‘oh we have to figure these songs out.’ From my perspective it seems very fluid from you guys. But the sonic journey was one of turning over stones.
Jackson: The recording took a long time.
How did the album come to fruition after only releasing singles? What was it like starting from an idea to a final product?
Jackson: It was always about making a record. The singles are just a marketing mechanism to get more people to hear each song. It’s all a record. It’s a complete body of work.
Josiah: This was really like a performance. It was a lot of rehearsals for this album, trying to get that shit right, like a performance. And we played a fuck ton of shows at The Bitter End, Mercury Lounge, and practices. Last summer, we recorded a bunch of shit. Nothing was recorded to a grid structure. It was let’s perform it, get the right feel of performing it live, and then add everything on top. So it was really trying to be true to a live moment.
Alex: I think the best producers understand, it sounds cheesy, but it’s more being someone who can help in any way. Whether that’s a technical thing, emotional support, being a chill person in the room for eight hours. I think the really beautiful thing about working with these guys is that this is a project that pushed us all. This isn’t the first album I’ve made, but I’m immensely proud of what we’ve achieved with this. We all were putting in relentless hours. It felt like we were on a mission.
Is this the most proud you’ve been of a project?
Alex: By far.
Jackson: I just want to answer your question from before. Is it an album, or is it a bunch of singles. It’s a record and the unveiling of the singles is intentional. And I hope that people who pay attention to the music and read the lyrics see a through line because there is one. Hopefully it will all make sense when the full LP comes out.
You guys signed to Universal Music Group in March. Can you talk about that experience?
Jackson: They hit us up about “Phone Booth.” We went to meet them.
Alex: An intern found it on a playlist.
Oliver: As rare as it could be.
Jackson: We met with the head of A&R at Victor Victor. It was written in the stars. Steven Victor came into play. I basically said, ‘we want to be the biggest rock band in the world. If you’re going to get in our way, get out of our way. But if you want to be a part of this, let’s party.’ And he said let’s fucking party.
Let’s talk about your sound. Instead of having a classic rock band structure, you have someone fully on keys and synth. Can you talk about how that contributes to crafting your sound?
Josiah: It’s organic. It’s just natural. I would say it was more like when we first met, I was really getting into Frank Ocean and trippy shit. It was what excited me. And then just natural collaboration of what I’m into, what he’s into, what they’re into, kind of birthed the sound. In retrospect we’re like, ‘oh shit, this is pretty unique and cool let’s keep doing it,’ naturally. I wouldn’t say it was too intentional at all. It was just natural expression and the fucking stars aligning.
Jackson: That was a great question. No one has ever asked that question, it’s a great one.
Josiah: Great question.
On social media you’ve been saying this slogan: ‘Rock Lives In New York.’ What makes you think that we’re in this new period of a resurgence in classic rock, and what do you think you’ll contribute or hope to long term?
Jackson: I think basically rock ‘n’ roll is a philosophy of just relentless and unapologetic self-expression. And some of the greatest musicians of the last recorded era carried this torch, and for a long time it’s been dormant for one reason or another. Music happens on a pendulum swinging.
And you feel like we’re swinging right now?
Jackson: It feels like we’re swinging back in the direction of people playing live music. I also feel like there was so much incredible hip hop music made over the last 20 years that the label and everyone wants to be a part of that money cycle and make money. When you have too many people clogging the airways, this shit gets tired. And people find new ways of expressing themselves that are not mainstream and the pendulum swings.
Josiah: I think Covid had a big part of it too. New York was one of the epicenters. Live, you want to go to a show and have a lot of energy. I think what’s been the music, electronic and hip hop, from my experience, cause I don’t really come from rock; at a rock show there’s more energy there than any kind of show. I think that is a big factor as to why rock is making a comeback. And in New York City people are catching a bug. There’s a lot of bands, a lot of artists, a lot of its rock ‘n’ roll.
Alex: The deal is indicative of that. Victor Victor is a hip hop label. This is the first band that they’ve signed out of that world. Everyone is waking up to it.
In the last year, two years, you’ve done a few ‘secret shows.’ Can you talk about how that idea first came about, why you started doing them?
Oliver: We just want to play as much as possible. I think I can speak for all four of us. Our favorite thing in the world to do is be on stage with each other and make people dance and curate a moment. I think that any opportunity we get to curate a moment and get up there and do it is welcome. Secret shows are so great because it’s such an intimate space, you’re coming into a unique moment whether it’s a rooftop or a bar.
Josiah: With all these venues there’s a certain performance aspect protocol.
Jackson: They don’t want us to play once a month. We only just beat the radius clause for Mercury Lounge, and there’s a two-month radius clause for Bowery Ballroom. We want to do it more often. That’s why they’re secret honestly.
What do you think sets you apart as a band, why do people keep coming back?
Josiah: There’s a cathartic experience live. I’ll call it spiritual. I think the music is genuine, it’s a type of rock ‘n’ roll you haven’t heard with the textures that we choose. I think us just being genuine is what people really pick up on. We’re not trying to do anything; we do what we love to do and what we want to hear, and people seem to be responding to it.
Oliver: All of the self-expression we do on stage is all genuine, our immediate reactions to what’s coursing through our veins in the immediate moment, and I think that rubs off.
Jackson: We’re trying to be the best versions of ourselves. We love the music that came before us and we worship it and study it, but we are not trying to replicate it. We’re trying to do what we can do and the combination of us four and get better. I think that quest to get better every single time we get on stage is what keeps people coming back, because it’s different.
Austin: I agree with that. I feel like being an artist is all about being genuine, being honest, and I think that’s the endearing part about being a fan, is believing in them. People embellish a lot in life and everyone has to be a salesman in some way. And we do as well, as a band. But when we are on stage, when we play together, it’s clear that we have an honest connection with each other and there’s a care for the experience that everyone else is having, not just us.
How does it feel to have a fan page in Japan?
Josiah: Sick. I hope we can go on tour there. It’s great, it’s lovely.
Oliver: Shout out to Japan. We love Japan. We love our Japanese fans. And we can’t wait to get out there. It shows the power of the internet. It’s cool to see how we can have this global appeal. It’s a universal language. And we can’t wait to get out to Japan and play for all those fans.
What is your dream venue?
Jackson: Outside of New York it’s Glastonbury.
Oliver: In New York, Gov Ball.
Jackson: MSG.
Oliver: Oh yeah.
Josiah: I was going to say that, but I’ll say Yankee Stadium.
Austin: Slane Castle in Ireland.
How do you personally categorize your music? Is there anything you want people to take away when listening?
Josiah: I want them to hear themselves in the music, and have an evolution of themselves, or mirror of themselves. Just put them in touch with them and their feelings, maybe that they’re hiding, maybe that they’re enjoying, but I really want them to get an emotional and spiritual experience out of it because that’s where it’s made.
Jackson: I’ll leave it at that, great answer.
What’s the ultimate goal?
Jackson: For me, since I was 10 years old, it’s been the pyramid stage at Glastonbury, headlining.
Oliver: To be the biggest rock band in the world.
Josiah: Honesty and process.
Austin: To stay inspired and keep getting better as a group.
Connect with Telescreens on Instagram, Spotify, and Tiktok.
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Rujen
Rumor has it that if you say the name Rujen three times into a vintage delay pedal, planets shift and gravity begins to disappear. In Brooklyn last month, the audience didn't even have to say it once before everyone in the Sultan Room started to float on a cloud of reverb, delay, and distortion. Formed between college study breaks during the thick, humid summers in Milledgeville, Georgia, Rujen is a dreamy surf-psych-rock band comprised of lead vocals and rhythm guitarist Ryan Miller, lead guitarist Creighton Perme, synth and keyboardist Nick Hanchey, bassist Charlie Brady, and drummer Ryan Barrett. It was the band’s first time playing in New York City, and they put on an unforgettable show.
Rujen began their set with a wall of sound and dreamy lyrics, playing “Psychic Sister” off of their new album Velvet Dream. We were then launched into a rock-psychedelia tsunami with “Push It,” firing up the crowd into an “anything goes” dance party with heavy delay riffs from Creighton and saturated synths from Nick. The title track for “Velvet Dream” was up next, and it was reminiscent of Electric Light Orchestra in the best way. The easy listening track is perfect street walking music with introspective lyrics from Ryan Miller to match.
Rujen continued to melt faces as they dove into three new unreleased tracks, playing “The Liz”, “Steppin’ Out”, and “Under the Light” which had a great dichotomy of fast drumming from Ryan Barrett and ethereal melody on the guitars. The next track, “Spider Silk,” really took us through a tailspin through dismantled frequencies, contemplative melodies, lullaby-like lyrics and otherworldly jams. Before their last song, Ryan Miller took a moment to shout out and thank the friends and family who supported them during their tour. The quintet ended the show with “Neptune’s Revenge,” with Charlie and Creighton trading riffs on bass and guitar. As the last echoes of the Sultan Room dissolved into the Brooklyn night, Rujen finally came to rest, leaving behind a room of people who had arrived on solid ground but left in mid air on a cloud of resonance.
Before the show, we were able to sit down with Rujen for an interview:
I heard this tour has been quite the excursion, tell me about where you’ve been and the journey to get to tonight’s show at the Sultan Room in Brooklyn?
Charlie Brady: So we had a three stop tour originally planned, and it was Richmond, Spring City and Manhattan, for the route. It was gonna be three days in a row, and on the way up, I think we had just gotten into South Carolina and found out that the original venue in Manhattan had double booked us. So the morale in the van shot down super quick. We were all pretty pissed because we were like, wow, we're about to drive to New York for kind of no reason now at this point. We were pretty unsure of what was gonna happen. But, you know, no one lost their cool and our buddy who had booked the show, Ryan Simpson, came through clutch as hell and ended up taking his band, Kama Sutra Christmas Club, off a bill they had at Sultan Room so that we could play instead. We owe him big time for that one! It all turned out for the better but it was kind of an emotional roller coaster for a second there.
Ryan Miller: We busted a tire on the way to Spring City, which was a band first. Had all five of us out there on the side of the highway flailing around trying to fix it and scratchin’ our heads like a bunch of baboons.
Charlie Brady: I think we were about three miles from the Delaware State Line in Elkton, Maryland, where the tire blew, and we're sitting there, and Creighton's the only one who noticed it. He goes, I think the tire blew, fellas.. And we're all like, I don't know Craig (Creighton). And he's like, I'm pretty sure I heard the air leave the tire, fellas.
Eventually we pull over and we're like, Fuck, he was right. The whole thing was flattened on the ground, and we tried lifting it, like, what, eight or nine times… it wasn't working. And eventually we settled, we had these two books. It was, I believe, a reggae music history book, and the owner's manual for the 2019 Ford Transit XLT, and we stacked the yoga mat on top of that as well to provide a little more height. Got the tire off and changed it. So we showed up an hour late to our Philly show in Spring City but still rocked it.
Is this your first time performing in NYC?
Ryan Miller: Correct, this is our first time performing in any of these cities.
So how did everyone meet and what drove you guys to create this musical project?
Creighton Perme: The majority of us are college friends from Georgia College in Milledgeville, GA, but Rujen didn’t begin until around 2016 when Ryan, Nick, and I had moved back home to the metro Atlanta area. Ryan B. was the final addition to the band, joining us on the cans a bit before we put out our first record.
Ryan Barrett: I was in another band at the time, and we played a show with them at Aisle 5. I really fucked with these guys, I thought they were sick, and I kept going to see them play. I think I told Creighton one time I was just like, hey man, if you guys ever need a drummer, call me. Creighton did end up calling me one day and now, we’re in New York City.
Ryan Miller: In college, we played under the name Keeva around town at the local bars. We absolutely loved the feeling of playing live and writing songs together and kept that up after graduating and moving to Atlanta.
Was there a reason for the name change?
Charlie Brady: There’s actually another band in Ireland called Keeva and they sent us a cease and desist.
Ryan Miller: With Hanchey joining the band, we wanted to change the sound a bit from what we were doing in college and, you know, really unite under the idea of being an indie-psych band or whatever you call it. So we wanted a heady new name to go with that.
And what was the meaning behind the name Rujen?
Charlie Brady: So I think Craig actually went out on this field trip, part of a study abroad for college. It was this story about how he went up on this mountain and Rujen was the name of the mountain. But I guess you must’ve seen something up there, man. And you know, I don’t ask questions, I just play root notes and fifths. So I was like, fuck it, man. You know, Rujen is gonna be the name of the band.
Ryan Miller: Yeah. And we said, “What is that man?" He said, “I don’t know, man, it’s a feeling.” We were like, “Alright, man. That’s deep. Sounds good.”
Charlie Brady: So we’ve stuck with it and now we’re almost 8 years in it.
Cool! So this tour is to promote the new album, Velvet Dream, which fans have described as ‘dream pop.’ Can you tell us about the creative process of forming the album and maybe expand on if you would consider the genre to be dream pop or something else?
Ryan Miller: So, our first record, Feel It’s True, was kind of just like a hodge podge of all the new songs we were working on as this new band, Rujen. And I think Velvet Dream is different in that we wanted something super cohesive to really establish what our sound is, what we’re trying to do, what we’re trying to present ourselves as. And dream pop is cool, for sure. I don’t think that’s exactly what we set out to be, but what’s cool about it is that people have their own interpretations of it, you know. We do some dreamy shit, but we also like to hit the fuzz pedals and rock out. We are inspired by a pretty broad range of music like Broadcast or Stereolab to King Gizzard or Ty Segall. So we try to keep it loose, I guess.
Charlie Brady: I would say the elevator pitch for our band is we like to say we’re an east coast band with a west coast sound. And if you really want to put us in a corner and label us, I think somewhere amongst the labels like indie dream, surf, psych, rock.
I love the elevator pitch. Going off of the creation of the new album, when you guys are in the studio, do you ever surprise yourselves? Ie, when you’re creating, does the music ever take you somewhere where it didn’t plan to go?
Nick Hanchey: For sure I feel like happy accidents happen all the time when we’re making new music. I feel like a lot of the process that we try to implement, is like, getting out of your own way. Not necessarily trying to think too hard, but listen critically and be willing to explore where things are going. And a lot of times that takes you to a place that you definitely didn’t preconceive. It’s kind of like we’re starting on this idea and then it gets collectively filtered through all of our five different personalities which ends up at a place where nobody could have gone by themselves. So it ends up sounding a lot more interesting and cool and just feels collaborative.
Amazing, sounds like you guys have a lot of chemistry. Going off that, we also saw the great music video for a few songs on Velvet Dream that came out last year and loved the artistic angle between fantasy and psychedelia that it brought. Where did the inspiration come for the music video, and what did it take to create it?
Ryan Miller: So I think we’re a pretty goofy group of dudes and it’s a little strange because maybe our music doesn’t feel that way particularly. It’s pretty serious, you know. So I think with the videos, it’s an opportunity for us to show that side of ourselves, have fun with it and just make the most crazy, far out shit we can think of.
Charlie Brady: In that particular video, “Psychic Sister” and “Spider Silk”, we filmed up near a German town called Helen,GA and it was very cold outside during MLK weekend. We had our friends, Vaughn and Elyse, come along to help produce and film the video. Sometimes it’s good to have people that aren't in the band to give you a different creative direction to go into. Elyse is a crafts wizard and designed the sun mask from paper mache as well as designing the sun costume.
Ryan Miller: And then our good friend, Elise Williams, designed our costumes that the band wore. So we had all the friends involved and got real crafty. It truly takes a village, ya know? And then we’ve got to give a massive shout out Christopher Fodera, our video editor and visual effects maestro, who really took what we had and turned it into something fucking amazing. I’ve always been inspired by Toro y Moi’s unique approach to video projects and with this record we wanted to do something different by announcing the record with a double-single, double music video. It just felt super big and exciting for us to do something different than the standard album rollout.
What’s the one thing about this band that you don’t think the world fully sees yet?
Creighton Perme: I think our live shows are a pretty fun experience that we try to make a little bit more special. We try to transition between songs and have jams, and a lot of that isn’t really captured so far into what you find on streaming.
Nick Hanchey: Because we all started out as a live music band, we would spend a lot of time crafting a set list with really intricate, froggy, inspired transitions and stuff between songs that is not recorded. We’ve actually never even recorded a live session. We don’ t have studio content of us playing in a live setting currently. So the only way to see that is to come to a show.
Charlie Brady: There’s chemistry that can’t truly be captured on an album that kind of gets filtered out with the whole recording process which I think, you know, is translated very well in a live setting. So we’re just happy to be playing for different crowds and getting reactions at live shows.
What does making music give you that nothing else can?
Ryan Barrett: For me, it's an escape. When we get together — whether we're at practice or playing a show — it's almost like meditation. We get so locked in that none of us are really here, you know? We're somewhere else entirely.
Ryan Miller: We try not to bring all the external stuff into the jam room as best we can — just focus on the music and get lost in it. It's a nice thing to have. You step into that room and all the shit you were worried about, you can forget about for the next two hours.
Charlie Brady: On tour, there are a lot of tiny moving parts — get to the Airbnb, get your coffee, wake up, pack up, soundcheck, dinner. Most of it isn't even music. You're only on stage performing for maybe 30 minutes, and you can get frustrated with all the minutia. But usually there's a moment on stage, maybe a couple songs in, where I think, whatever I was pissed off about earlier, none of that shit matters. This is what we're all here for — being present in it. And it feels fucking good. It's like a bug, and once you catch it, it doesn't go away. You keep chasing that dragon. And that's kind of where we're all at.
What do you want the people who listen to your music to take away from it?
Ryan Miller: Just to feel good. Some of our earlier stuff had a darker undertone — more alternative sounding maybe. But there was definitely a switch where we decided we just wanted the music to be fun. We want people to come out, dance, let loose, and not take it too seriously. A more positive vibe — which I think is captured in our last record, and honestly in a lot of songs on the first record too. That's what I hope people feel when they see us.
What's your dream music venue that you'd like to play at?
Ryan Miller: The Gorge.
Creighton Perme: Madison Square Garden.
Nick Hanchey: Probably Red Rocks, but I will say Sultan Room is sick!
Charlie Brady: I would love to play at the Spirit of Suwanee Park.
Ryan Barrett: Red Rocks.
What’s next for Rujen?
Charlie Brady: So we have been talking about music videos, and we recently went down to Florida and recorded a music video for an unreleased song called “Under the Light” that is coming out sometime this summer.
Go catch Rujen at a venue near you today!
Connect with Rujen on Instagram, Spotify, TikTok and their website.
