Genres never really die. Even as news headlines and a now pop-centric music industry decree so, genres are immortal, forever satisfying new listeners and taking different shapes through a new generation of musicians and creatives. 

Critics have cried “rock ‘n’ roll is dead” since before the turn of the century, but, dear reader, it lives on in the mystifying and electrifying tunes of the New York City-based band Telescreens.

Formed in late 2016, it wasn’t until December 2020 that the band debuted with their first album, “The Return.” After making a name for themselves throughout New York’s rock scene with invigorating and rollicking live performances, Telescreens is gearing up to release their third studio album, “Why The Lights Flicker,” this June.

Several singles from the album were already released and are teeming with spirit and nostalgia, shaped by driving drums and steady basslines. Many of the tracks are longer than average — a signature of the band — but they lend themselves to creating a dynamic, complete listening experience.

Leading the pack of tracks, “Nothing” is a standout, melancholic rock anthem with a delectable guitar solo and the boisterous repeated lyric “You don’t feel nothing.” The song’s dramatic buildup gently leads into the forceful choruses, where lead singer Jackson Hamm adds the perfect amount of grit and rasp.

While “Gimme All You Got” features bright, spacey synth keyboard melodies, Hamm’s wistful scream-singing creates an engaging contrast and a nostalgic sonic atmosphere. The sound of “Preacher” takes a slightly different shape, as the raw intensity with bits of grunge and alternative influence takes over the classic rock sound. Though synths remain, a heavy hand of distortion on jittery electric guitar adds color to the track.

Thanks to its explosive power jumping from the verses to the choruses, “Baby I Know You Well” is an instant classic for Telescreens. The songwriting is top-notch with lines like “Told God don’t need your help / I’m losing my only fears.” Released alongside the track as a b-side, “Nights” is especially addictive, largely because of sublime guitar riffs and melodies.

While their latest singles maintain their style, how well they will come together as a complete project is yet to be seen. However, the release of their sophomore album, “7,” solidified the band’s sound for fans and created a recognizable, refined aesthetic of nostalgia and gritty city living. “7” captures the band’s evolved artistry and creative vision, especially with a spoken poem titled “Blue” as an interlude.

A striking shriek opens “Times Like These,” before a muted guitar brings in the rest of the band. The track also features some of Telescreens’ catchiest lyrics, like “There were hurricanes / Double-decker planes / And the bloody stains / Of a thousand pains.” 

Easily the band’s best song, “Phone Booth” is a full-body experience and everything a fan could want from any rock outfit, from jumpy guitar melodies to clamoring drums. Hamm’s vocals are perfectly balanced; he gives just the right emphasis to lines like “Cut you off in a wave / What a way to stay sane / Got some pain in my brain like a hurricane.”

Transitioning from deafening sounds on “Phone Booth” to another standout across Telescreens’ discography, “Games” opens with a measured bassline before booming drums and guitars ring out. As Hamm sings “Been waiting for a better time / Said I / Been waiting for a lover’s cry,” his layered vocals add depth and character to the chorus.

“Lost” takes a touch of shoegaze sounds to craft an indie surf rock track — noticeably different from most of the band’s other songs. It features vibrant and chirpy guitar parts, but still maintains a sense of edginess from the first lines: “And I don’t care if your mother knows / Left swing right straight then I’m going home.”

While Telescreens’ latest album and tracks from their upcoming album sound cohesive and mark a turning point in the band finding their sound, their debut album is less unified and entertaining. Even so, there are a handful of tracks to love that offer unique sonic experiences.

“You Were Mine” and “Who Are You” have a futuristic, techno vibe, especially the latter, which adds a slight autotune effect to Hamm’s voice. Both tracks are alluring to listen to in their own way, but the band’s rock sound is less present.

But the nearly 7-minute-long track “Losing You” is a galactic experience that opens with alien sound effects before jumping into a rocking ballad with sick guitar riffs and synth keys as Hamm sings, “I’m so tired of waiting / I’m fucking done waiting for you.”

After being active for nearly a decade, Telescreens is here to stay with their intense and authentic sound and clear commitment to keeping rock alive while reshaping the possibilities of the genre. 

Aden Max Juarez is a sophomore writing about non-mainstream music in his column, “Underground Earworms,” which typically runs every other Thursday. He is also an Arts and Entertainment editor at the Daily Trojan.