Avant-garde post-metal outfit Telepathy return with Transmissions, their fourth studio album, out today (28th). The UK-based band fuses cinematic synths with experimental soundscapes, formed by Polish brothers Piotr, Albert, and Krystian Turek alongside English guitarist Richard Powley. Metal Insider caught up with Krystian and Richard to discuss their latest release.
What was the recording process like for the new album, Transmissions?
Krystian: The recording process for Transmissions was super immersive and intentionally experimental. We took our time and devoted all our energy to it. We approached it almost like crafting a film, building layers of soundscapes, textures, and intricate arrangements piece by piece and Piotr mixed it from beginning to end to give the album more of a sonic narrative. A big part of the album’s identity emerged organically during these studio sessions, adding radio transmissions, nostalgic samples, and the historical voice recordings we stumbled across.
For several of the spoken samples, we chose to have friends of the band come in & re-interpret and record some of the vocal samples we’d come across, to give them a more unique and personal touch.
The main difference between the recording process for Transmissions and our previous records was that we chose to produce the record ourselves with Piotr then mixing the record. We used our own studios, and gave ourselves the time we had always wanted to explore synthesizers and guitar sounds, and also to do pre-production on the album and really work on the arrangements in the studio as a band.
Are there any films or composers that inspired the more cinematic approach of the new album?
Krystian: Definitely. Films like Blade Runner and Kieslowski’s “Three Colors” trilogy were deeply influential. Composers like Jóhann Jóhannsson, Hans Zimmer, and Trent Reznor have always inspired us due to their ability to blend atmospheric, narrative-driven music with emotional intensity.
How did your writing process change compared to 2020’s Burn Embrace?
Richard: The first major difference was that this time we devoted ourselves entirely to writing and recording the album, where in the past we had paused writing sessions to do tours or festivals.
Transmissions was a much more collaborative album, and with each album we’ve learned to collaborate and trust more deeply in each other and our own instincts.
For this record, in most cases only a brief initial idea would be brought in, then we would all collaborate in the jam room, record many demos and finish the song together. Separately we’d work on the odd additional texture, but we kept the original and spontaneous arrangements, and even went so far as to map the tempos for the records from our favourite jam takes.
“Tears in the Fibre” and “End Transmission” clock in as the longest song lengths in the album. How do you maintain the storyline throughout the tracks?
Richard: I think this comes down to preserving the initial intention and vibe of whichever part started the song. We explore that initial idea, and usually that idea has its own story to tell.
Krystian: With “Tears in the Fibre” and “End Transmission” by focusing on recurring musical themes, dynamic shifts, and careful narrative pacing we found we could guide the listener on a long journey without sacrificing the initial idea.
Richard: In essence we let the songs tell us when they were finished, and once nothing more could be added the journey of each song was at its end.
Were there any songs that didn’t make the final cut?
Krystian: Yes, we had a few tracks that didn’t fully sit with the album’s theme. It wasn’t easy leaving them out, but once we’d recorded demos of all the songs it became clear to us that a couple didn’t fit within the Transmissions world so to speak.
With this release we wanted to create a journey for the listener, with a particular pacing and sonic identity as a whole piece so it was important to bear this in mind and not include anything that took away from the greater whole.
Those tracks might still surface in the future, possibly as standalone pieces or reimagined versions. Who knows!
Which song was the most challenging to write?
Krystian: Splitting “Oath” and “Augury” was particularly challenging, as they initially began as one composition.
We had some pretty extensive discussions about whether to keep them as a single track or to divide them, but ultimately decided they each had distinct identities and narratives worth exploring individually.
In the end we managed to structure these on the album so they can be listened to separately or as a whole piece on one side of the vinyl for the album. The best of both worlds so to speak.
What’s next for Telepathy after Transmissions?
Richard: We plan to tour and perform Transmissions as extensively as possible, we’re honestly so proud of the album that we feel we have to put our all into taking it to as many places as possible. Beyond touring, we’re exploring a couple of collaborative projects, and really want to push the envelope in terms of what can be done with an instrumental album. That said, we’re also looking at options to develop our live show to further blend music, visuals, and storytelling.
Would you ever consider scoring a film or game soundtrack?
Krystian: Absolutely—it’s something we’d love to do. Scoring a film or game feels like a pretty natural extension of what we do already.
Is there anything else you want to say or add about the new album?
Richard: Only that we hope listeners will find something meaningful in it, and that it resonates with them as much as it does with us. We can’t wait to hear people’s interpretations of what the album means, or the images it conjures for them, and to get back on the road with full force.
Transmissions Release Shows
April 17th: London, The Black Heart
May 6th: Leipzig, Werk2
May 7th: Berlin, Neue Zukunft
May 8th: Copenhagen, A Collosal Weekend
May 10th: Bremen, Zollkantine
Feature Image Photo Credit: Damien Demolder
