Formed in Melbourne circa 2020, Telenova has established a cinematic and otherworldly sound and visual identity that weaves through their discography. Consisting of Angeline Armstrong (lead vocalist, writer and filmmaker), Edward Quinn and Joshua Moriarty (multi-instrumentalists and producers), the band released their debut single ‘Bones’ in March 2021, an indie rock-pop track with punchy percussion and synths, and since then Telenova has gone on an explorative journey through their music not just as bandmates but as friends. The trio didn’t know each other when the band was created, each of them coming out of projects that hadn’t quite worked out - it was perfect timing.

I got to sit down with Angeline to speak about the band’s journey, music influences and the band’s new album THE WARNING.

Before Telenova, Angeline was in the midst of pursuing filmmaking in Los Angeles, with music fitting in as more of a hobby on the side. She then met Joshua and Edward at a songwriting camp, and the three of them decided to give music another go - and Telenova was born. Although shifting to music, Angeline still holds her passion for filmmaking close, as she directs and stars in the bands’ music videos. The visual identity for the band is just as significant as the music itself, the two elements working together to enhance and expand each other. Angeline is able to take her skills and experience learned in filmmaking and apply it to her music career - something I found really fascinating being a fan of music and film myself - I wanted to delve more into how film has impacted her music process and vice versa.

“I feel like I almost approach music and songwriting with the same fort of lens or muscles that I use for filmmaking…whether I’m looking at my own life or the people around me, I think I see things more as characters and settings. How is the weather or the season of the year impacting the way light is hitting the world I live in and how does that change the mood?”

I got to listen to THE WARNINGahead of its release. My first listen was as I was driving home at night while it was raining and it was so unbelievably fitting for the setting I was in - street lights glowing through raindrops running down the windows, mixed with echoing vocals and instrumentals in orbit - I felt like I was in a movie. I described it as atmospheric and euphoric to Angeline, to which the word ‘euphoric’ stood out to her, explaining how she finds it interesting to see how people experience listening to the album for the first time. The intention of creating the album can be one thing for the band, but its reception can be something completely different. She describes the creation of the album as being a very dark time for the band, as they were all dealing with a lot in their personal lives, but at the same time they were coming together to work on the album, providing support to each other as they worked through their issues.

“That created a weird and interesting environment for music to come out of…I think a lot of our own emotional responses to that time just played out in the music without us even realising half the time. There’s also kind of like a thread of hope of things getting better and a kind of curiosity of where things will lead…I think that’s maybe the euphoric element.”

Angeline describes it as a clash of darkness and melancholy, but also a thread of hope being present amongst this. A light at the end of the tunnel. She opened up about one of the bandmates going through a relapse after 10 years, and how the individual as well as the band dealt with this over the course of creating the album. It was seeing a different side to a friend that you now couldn’t recognise half the time. This resulted in somewhat of a forced vulnerability between the bandmates, allowing more openness and trust, making the growth of the band quite parallel with their growth as friends.

“I think a lot of that worked itself out in the music as we were processing it all together and hoping that things were going to get better.”

She goes on to highlight the still prominent issues surrounding illicit drug use in the music industry, how normalised it is and how much it can impact the people involved. One of the songs towards the end of the album titled ‘EMPIRE’ captures these ideas and themes in a solemn, drum-led track scattered with light guitar melodies and vocals that feel almost as if they’re seeking something to ground them. One line in the song represents a glimpse of hope; ‘Throw my arms around the morning sun, there’s a bit of glitter that falls for everyone’. Angeline recites a morning that she had gone out for a walk, and felt the sun and its glow on her skin. It was a moment of solace, a reminder that no matter where you are in life or what you’re going through, the sun will rise again and that’s something worth waking up for. You can almost hear the slight presence of this warmth and ‘glitter’ presented in the shimmering guitar picking around the half-way point of the song, and continues through to its conclusion. It’s little details like this that truly showcases the audial storytelling that is so well woven in the lyricism and instrumentalisation of Telenova.

One of my personal favourites off the album is ‘IN THE NAME OF YOUR LOVE’, with its raw lyrics and layers of instruments that build as a beautiful swirling motion - an emotionally hitting song that you can dance to. From what seems like a song about love and relationship struggles, is originally created as a song about religion.

“I think this is a common experience for some people…this conflict in our lives really wanting there to be a God and hoping there’s something good out there. But then also being so confused and conflicted by the brokenness in ourselves and also other people.”

Telenova often finds their music having multiple parallel meanings, this song in particular explores a relationship to God or higher power in a similar way to that of a romantic relationship. It’s the risk of falling in love with someone and baring your full self to them, with underlying fears of potential harm or disappointment. Angeline relates this closely to her experience with religion, having similar fears about surrendering oneself to God and putting so much into that connection. One’s mind might begin to ponder: ‘What if it turns out that you’re horrible or that you’re going to disappoint me?’. It’s a familiar practice of faith and trust.

From Bones to THE WARNING, Angeline reflects on the evolution of Telenova and the music industry itself, calling attention to the accessibility of music creation in today’s scene, being both an exciting time for creative exploration and expression, but it also feels as though there’s even greater expectations put onto musicians to put out music and to ‘do well’. Telenova - like many young bands - would receive a lot of promises regarding their career and success when starting out. Constant claims of being the ‘next big thing’ can spiral and cloud over one’s own perception of why they do what they do, instilling the idea that it’s only worthwhile if you’re topping charts and selling out huge shows.

“I think for a little bit in the middle there I kind of lost sight of why I even care about doing it…then getting to the other side…the band is actually closer than we’ve ever been. Happier than we’ve ever been.”

When coming back to herself through the music, Angeline was reminded of why she does what she does, that music has always been something that she’s wanted to do and be a part of - it’s always been her passion ever since she was a kid. It’s a beautiful testament to what music and creative expression can do for people, both as musicians and listeners.

THE WARNING is a sincere journey of the band’s growth, challenges and relationships, all encapsulated in a filmic soundtrack of glimmering melodies, warping siren sounds, angelic narration and revolving instrumentals.

Venture into THE WARNING here, and experience it live at Telenova’s upcoming shows!

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