times for new work

so what times are good for people to get together reasonably regularly to start writing our new things? should we go for once a week/fortnight? or an intensive things sometime in january over a few nights? let me know what you think.


Each Other Now Embrace

Released December 3, 2012

For Christmas 2008, inspired by heroes like Sufjan Stevens, Perry Como and the Christmas Cocktails Collection, the members of Telafonica decided to make a Christmas compilation for their friends. Splitting off into their various solo guises and different internal collaborations, a handful of tracks were created. Buoyed by the fun and satisfaction of that first collection, they've continued the tradition every year since. In that time, they've given up the pretense of making any real actual Telafonica group tracks, and have also invited some of their friends (and children) to join in the festive fun. Their main goal has been to create Christmas music that the discerning Mariah Carey disliker can enjoy during the end of year season.

Which brings us to 2012. A few new styles, configurations and friends added to the blend means some new artist names and new shades of Christmas. But the same old spirit of making Christmas music that won't make you nauseous, or get stuck in the back of your throat, pervades. We hope you enjoy 'Each Other Now Embrace'. All of the previous years' compilations are also floating around on the world wide web for free download for those who care to look, so go and track them down.

1. Lessons In Time - Be Thou My Vision
2. the onestarband - To The Belly Of A Girl
3. St Jambience - Good King Wenceslas
4. Goldberry - O Little Town Of Bethlehem
5. The ABC Jugband - Do You Hear What I Hear?
6. StephenFox - I Wonder As I Wander
7. Joshua David Lynch - A Seed Is Born
8. The Bells - God Rest You Merry Gentlemen
9. The Vicars - The Little Drummer Boy
10. Los Naranjitos - Mary Had A Baby


sleeping with the fishermen boxset production

so, a few months behind the original schedule, but they're finally just about here - the illustrious box sets!

burning discs, printing, cutting and folding sleeves.
colour coded discs
getting the hands dirty with the sewing machine
the concertina disc booklet


telafonica in spain

so, apparently, we're huge in spain. of course, like most of the rest of the world, they seem to have a bit of trouble spelling it correctly.


new weird australia on real time arts

stu buchanan was recently interviewed by gail priest about new weird australia for a short piece for real time arts. a piece of music from our contribution to the first compilation was used, but the whole thing gives a great overview of the ideas and tactics behind new weird australia.


Heartbeatings For Those With Heartbeats

Heartbeatings For Those With Heartbeats from Telafonica on Vimeo.

Track three from the album - Sleeping With The Fishermen.

Music by Telafonica (vimeo.com/telafonica).

Film created by Adrian Elmer for Boom Blip Blip (boomblipblip.com)

Starring the letter boxes of Toongabbie


a new project

so, i've had 3 months to think about what we might do for our next project. bec and i, and blake and bec and i, had a few assorted conversations before that as well, to kind of give a vague idea of what people might be interested in doing. so, in summary...

bec liked all the remixing idea for the last album and was thinking of ways to incorporate lots of people again, but in a different way. one suggestion she had was to get a whole bunch of people to make source material for us, which we can then incorporate into our own production. so, i guess, readymade samples. keep that thought in one hand. blake suggested he like the idea of abstract, freeform music. keep that thought in the other hand.

i've been thinking that i'd like our live set up to be more portable and possibly more electronic, though still with lots of playing rather than singing to backing tracks. so utilising ipod/phones/pads etc. so that's lead me to want to try the idea of using new instruments, electronic ones, to play our music - samples and things not running locked into each other - i guess like we've been doing with heartbeatings and to me and things like that recently. just without all the bulky bits of gear. we don't have any gigs booked and i'm not seeking any at the moment, and blake is not keen on doing them anyway, so the gig aspect is not really a concern at the moment, but has led to ideas for how to go about stuff. stick that on one foot.

another thought is that it would be nice to work on new things in completely the opposite way to what we've normally done. normally, the production might start the process with songs later being fitted into the sounds created or, at least, be done simultaneous to the songwriting. i thought it would be nice to come to a new project with a collection of already formed songs. they'd be written on simple instruments - guitar, piano, whatever - but only have lyrics, melody and (maybe) chord structure - no actual preconceived sound arrangements, riffs etc etc. we then deconstruct those in the process of producing new music for them. that's the other foot.

i've also been attracted to the idea of really pushing the limits of the contrasts between great pop songs and out there production. we do that already, and i think it's possibly the thing that may set us apart - so let's see how far we can take it. i've been listening to lots of things with very disjointed production and other things with great songs, but the two don't often go together.

sooo.....my initial idea is to spend a few months writing the best pop songs we can, without any concern for musical arrangements. then, when we have a collection of these, we see what we can do production wise to push them. we get a bunch of people to give us random pieces of music they've created, then we chop those up and 'play' them collaboratively, alongside our own playing. in a room. together. freeform. which will involve using technology in ways we haven't really done before which will, hopefully, push us into new ways of creating and sounding. but the songs survive in that process.

yep, long winded, but it's been a few months. feel free to tear the ideas apart or add to them. please.


Each Other Now Embrace - 2012 Christmas CD

Hey Telafonicans across the world, Now that we're back from walkabouts, my mind has naturally turned to Christmas. The title for this year's CD is going to be EACH OTHER NOW EMBRACE, a line from "God Rest You Merry Gentlemen". I thought it was a good one for this year with Blake, Adrian and me "embracing" other cultures and Ellie and Benjamin getting married. So crank up your creative craniums and choose a song to sing. The Bells have already decided to do "God Rest You Merry Gentlemen" so you might want to leave that one out. Actually, when you decide what you are going to do, why not write it down in a comment below to let us all know! Will post the artwork for the CD for further inspiration when I get around to it. Love you heaps! Bec


o||o album launch

so, hello. with all performers back in the country i figured it's time to get the old website ticking along again. are we interested in a gig supporting o||o at their album launch at red rattler on sept 29? their new album is pretty excellent (read my review here). i need to let them know reasonably soon, so let me know.



Severed Heads tribute album to celebrate the 20th anniversary of Clan Analogue. Head over here for details on how to get a copy.

To mark its twentieth anniversary, Clan Analogue are proud to release the new compilation album Headspace uniquely celebrating the heritage of this Australian electronic music and arts collective. Headspace is a tribute album to the legendary Severed Heads, with Clan Analogue’s artists reinterpreting their favourite tracks from this seminal Australian electronic music act.


dirty shirlows set/rehearsal

so, with our next show a couple of weeks away, i thought i might float the idea of working out a set and having a rehearsal some time. we have 45 minutes to fill. i'd like to do viceroy and ask some of the other performers on the night to join us for vocalising. i wouldn't mind doing sister zephyr either, and blake told me this evening that he likes cover. any other requests?

when is a good time to rehearse? mondays are out and tuesdays are out for me. wednesdays are out for bec, but we're both generally free thursdays and fridays. how about everyone else?


To Me Remixes

To Me Remixes is available for free (or pay what you like) download via Bandcamp.

'To Me', the 6th track from Telafonica's 'Sleeping With The Fishermen' album, becomes the 6th track to receive the full reworking treatment. Lunar Module keeps the vocal arrangement intact, but splices it onto a piece of nu-nu-wave synth-pop heaven. Limetipe goes all electronic moody, throwing out pretty much everything but a few little blips to create an enigmatic opus. Underlapper cast Telafonica in their own image, twisting the pop into dark moods highly reminiscent of their most recent album - Softly Harboured. Lessons In Time creates a whole new version, literalising the sounds of sleeping in dust with dirt on his brain (and, yes, Lessons In Time's Blake is also in Telafonica, but he didn't have much input into the original version, so chose this track as it was the one his Lessons In Time could most easily approach from the outside).

If you would like to create your own remix of To Me, the original stems can be downloaded for free at www.archive.org/details/telafonica-to-me. download these, create your own remix and send it to contact@4-4-2music.com. We will post all remixes on another Bandcamp page and split any pay what you like earnings 50/50.

Buy It Now price is set with a minimum of $0, so you can download for free (just enter '0' as the price). If you would like to make a donation of any sort, just enter the amount you'd like to donate, and we shall be very grateful.


tanya voges - space to create

tanya has been working on some new dance works and did a bunch of improvisation things. the film she's made of some of it uses the scissor lock (marcus whale) remix of viceroy as the soundtrack.


fbi social

our gig at fbi social is in 2 1/2 weeks, so we should probably have a couple of rehearsals between now and then. what is good for everyone next week?

i'm thinking it might be nice to just do an out and out greatest hits set, all the songs that fbi have flogged for us over the last few years. thoughts?


box set booklet

i'm going to be putting together a booklet to go with the box set of sleeping with the fishermen and i was thinking that it would be good to include information from everybody about their thoughts on each of the seven tracks. can i get you to each send me things you think about the songs? anything about the songwriting process, inspirations for the songs lyrically or sonically, what they're about (if you wrote the lyrics), what you thought of the song when you first heard it in whatever state (if you didn't start the songwriting process), how you went about making up your additions to it etc etc etc etc. i'll pick out the best bits of all of them and compile them into an outline for each track.

also, the box set has promised original, exclusive artworks - i haven't quite worked out what this will be, but look out for a request at some stage for the creation of artworks that relate to the songs!


There's Something About Your Face Remixes

There's Something About Your Face Remixes EP is available for free (or pay what you like) download via Bandcamp.

Track No. 5 from Telafonica's 'Sleeping With The Fishermen' album gets its turn at being twisted and turned into new and exciting shapes. Raven intricately re-recorded every sound from Telafonica's original master tracks, one by one, using just his cello - percussion, melodies, bassline, everything. The results are a million miles from the original, while being strangely identical. Hinterlandt turns the track into a loping electric lullaby, dragging the vocals through treacle and adding his own brand of multi-instrumental eclecticism. Genlevel pulls the track in another direction completely, converting it into a bass heavy electro workout, displaying his virtuoso roots in the 90s electronic underground, updated for today with wobbles, glitches and noise bursts.

If you would like to create your own remix of There's Something About Your Face, the original stems can be downloaded for free at www.archive.org/details/telafonica-theres-something-about-your-face. download these, create your own remix and send it to contact@4-4-2music.com. We will post all remixes on another Bandcamp page and split any pay what you like earnings 50/50.

Buy It Now price is set with a minimum of $0, so you can download for free (just enter '0' as the price). If you would like to make a donation of any sort, just enter the amount you'd like to donate, and we shall be very grateful.


karoshi - walking in fields

Free download single available via 4-4-2 Music

Final single from Karoshi's rather excellent (if we do say so ourselves) album, 'Sleepwalker', is the track, 'Walking In Fields'. The single comes with a radio edit and two remixes. One is by everybody's favourite remixer, Loopsnake, who pushes the drum loops and synth sounds through his glitched up electronics wringer. When the track was originally created, Karoshi asked Telafonica's Eliza Magill to write a song for the fledgling music. In the end, a few voice snippets were chopped up as rhythmic texture in the final mix. Here, Telafonica's remix reinstates Eliza's song over a minimalist backdrop.
Go to vimeo.com/36399957 to watch the film for Walking In Fields.


haunts covering viceroy.

matt and greg from underlapper and peter hollo have a new trio called haunts. last friday night i went to dirty shirlows to see their 2nd ever performance. they did a cover of viceroy. i filmed their whole set and so have their version here for posterity - from what i'm aware, the first time anyone has ever covered a telafonica song.


sinead o'connor

so i've been working through lots of these ideas for musical places to go that we discussed a few weeks ago. i greatly like the idea of really (like, really because, well we already do a lot anyway, so we'd need to 'really' do it to make it any different!) pushing the mix of electronics and organic. another thing i've been trying to follow is using very random sound generation techniques (the ipad i was given at school has opened up lots of really great possibilities in that regard). and the other thing i've been following is a real minimalism, which goes very contrary to what i normally do, which is pile sound upon sound upon sound. so some of those things you can hear in the remix of karoshi's 'walking in fields' (which i really need to post here - maybe tomorrow) that's just come out.

anyway, today i cam across this track from sinead o'connor. she's been in and out of my consciousness for over 20 years now, and i know marcella has used her as a big inspiration at times in the past. so, i've heard this track in passing before, but today heard it through my stereo with booming bass for the first time, and it feels like a really tangible path to follow. minimal, groove-based and with the voice really holding the whole thing. the fiddle is nice, though i probably wouldn't go for that sound myself, but as an idea of acoustic over electronics, it's good.

for full impact (actually, the only way to impact, really, there's not much to it without bottom end) you need to hear it with some solid bass...


a couple of reviews

a couple of reviews have popped up in the last week or so, one by our old friend, paris, and another from someone i've never heard of, which is nice because it gives a different perspective not swayed by knowing the artists...
Sydney Morning Herald - Metro - 10.2.12


For a decade, Sydney quintet Telafonica have steadily been embellishing their electronic foundations with expanding acoustic and vocal palettes, to curiously good effect. Further eluding pigeonholing, this latest heterogenous LP opens with the extended Viceroy, a slowly unfurling piece born of a single, subtly wavering tone, not unlike electrical hum. The vocal that eventually materialises ushers in a gentle, tribal-like rhythm rattling like conches against hollow bones. The rhythm is invigorated for ultra-short follow-up The Unravelling Man, where female vocals playfully jostle for a vantage point to deliver the next tune's schoolyard refrain about pursuing happiness. As if rebelling, it's sad melodies and reverb-soaked guitar guitar hooks that follow, plus a 14-minute closer of saxophones muscling out of a darkly hypnotic techno-punk straightjacket.

Paris Pompor

Cyclic Defrost Magazine

Telafonica – Sleeping With The Fishermen (4-4-2 Music)

By Henry Andersen February 8, 2012

The album, as a musical form, was born out of commercial necessity and technological limitation. In the late 1950s and early ‘60s record companies needed a way to shift a number of songs in a single package. Vinyl disks allowed the storage of 50 or so minutes (about 10-12 tracks) making the vinyl long-player an ideal mode of packaging music to the consumer. Later, in the late ‘60s and early ‘70s the album began to take on artistic relevance as a form in its own right. Rather than simply a collection of songs, bands began to view the album as a unified whole with a coherent character and narrative through-line.

Some 50 years later, the album is a more complicated concept in contemporary music. There is no longer the same technological limitation. The internet allows any amount of music to be uploaded and distributed immediately. Sites like iTunes allow consumers to remove a track from its context within an album, to treat each song as an end unto itself rather than as a component of a whole. Realistically, this is how the majority of people have always listened to music – the difference is in how it is packaged.

This itself presents new artistic possibilities in terms of musical form. Sleeping With the Fishermen, by Sydney collective Telafonica, is both the name of an ambitious meta-project and the album which forms its gravitational centre. The project includes (in addition to the seven tracks of the main album) seven remix EPs (each focussing on one of the tracks), a music video for each track and a Bandcamp album of fan remixes. There are post-modern, and even cubist, overtones in the way the album is broken up into its component parts and re-examined from multiple angles. Each remix and video offers a new perspective on the songs and after listening to them the original album takes new shape as well.

Even the original Telafonica tunes are awash with differing perspectives. The band is made up from members of a number of Sydney-underground musical and artistic projects (Lessons in Time, Karoshi, Boom Blip Blip) and these contrasting musical views make for an album which pushes and pulls itself into strange and unexpected places. The opening track, ‘Viceroy’, unfurls from an errant sine wave into a looped groove reminiscent of This Mortal Coil before jumping violently into the Sleigh Bells-esque noise-pop of ‘The Unravelling Man’. The album does have a few weak points, but its erratic shifts in style and pace are arresting.

In Sleeping With the Fishermen, Telefonica have delivered a traditional album, bracketed off from its context within the broader project by its two bookending tracks. Taken alone, the album is interesting but its meta-connections with the broader project are what make it noteworthy. For the consumer, there is a choice in how far one wants to delve into the project; to view the entire web of interlocking music, to hear the album as a standalone experience or to simply pick out single tracks as they see fit.

Henry Andersen


super critical mass @ blacktown arts centre

i got an e-mail from kiri at blacktown arts centre today about a project that is going to be happening there on friday, may 4.

basically, an international sound art trio called super critical mass will be doing a piece at the gallery as a launch for a thing called the aurora festival. they are specifically looking for brass players and vocalists, so we can all fit into that in some manner. i've told kiri i'm definitely interested, let me know if any of you are and i can pass that on. it will involve a couple of rehearsals beforehand. at the moment she's just after expressions of interest. so let me know.

here's a clip of a piece they did in brisbane last year...


available dates

i have some gigs being lined up but need to know everyone's availability. basically, can everyone let me know if there are any fridays or saturdays from april 13 until the end of may that you know you definitely can't be available for? the sooner i can find out the better. thanks heaps.


jjj unearthed soundbyte thing

we got a group e-mail from jjj unearthed today -


Oh hey!

As you already know, your tunes are getting love on triple j Unearthed.

Well, now we want your voice on the digital airwaves as well!

All you have to do is record yourself, (or your whole band), at home and upload the audio

Then, like magic, your intros and greetings will play out on triple j Unearthed radio and online before we spin your playlisted track!


Things to keep in mind:

* Tell people who you are, what band you're in (if you're in one) and where you're from!

* Win the listeners over! (there's lots of them, and you could be their new best thing ever.)

* It doesn't matter how shitty your microphone is, we can fix it at this end.

* Have Fun, Be weird! Sound excited! Say whatever you like about your band!

* Tell people what the song is about, why you wrote it... basically any interesting fact.

eg: "Hey! it's Dominic from the Fighting League, we're tropical street punks from Canberra! And this track "Foursquare" is about bein' man enough to protect your chick, if you're not man enough then you just better talk tough..." (actual real life example!)

______________________________ ________________________________

Hit me back with any questions you may have and most of all: give it a go!


any ideas? any free time?


portraits by boom blip blip

i know it's not technically telafonica, but it is sam and i, and all the portraits i'm doing for the half of the works that i instigate are based on telafonica members, so here's some shameless self-promotion...


a few tangents

a bunch of videos to watch in your spare time, hopefully giving some ideas. blake and i went and saw tuneyards on friday night which was, in and of itself, pretty incredible. more on that a bit later. but we talked through some ideas a bit. one of the things i was telling him about was the following clips, taken from ableton live's website. it's the band caribou, showing how they use ableton live in concert. i quite like the idea of each person in the group having access to ableton live, and it kind of functioning as a communal brain that everyone is able to manipulate in some way. don't worry too much about the technical aspects if they go over your head, other than to say we wouldn't need to add too much to our gear to be able to function in this type of manner.

the first clip is an explanation, the second is just a live perfromace where you can see them actually doing it...

another thing we discussed was the idea of limiting the actual instruments we use in order to create a cohesive sound across an album. i was listening to lcd soundsystem last week and realising that he/they alaways use the same sounds, same drum sounds, drum machine sounds, synth sounds, guitar etc, but push those around in the arrangements, so that it's cohesive yet still has a diversity. tuneyards did a similar thing - just drums, bass, ukelele, 2 saxes and voice - but used incredible arrangements (and incredibly funky grooves) to keep it interesting. here's an example...

we actually have the man and woman power to do this kind of thing without even needing to rely so much on layering loops. and the sax playing was pretty inspirational - cherry. :) blake also brought up the idea, which i like greatly, of untethering us from a reliance on the laptop driving the music but rather, us play things and the laptop serves us (through looping, processing etc) which fits in with the ideas from the caribou stuff above.

none of which actually helps in determining what these new sounds will actually be, but possibly all being in a room together playing while we are in the making it up phase might be a good option - or, at least, actually writing songs first and then arranging/producing them, rather than the other way around which is generally how we function at the moment.


and another...

this one was only written a few days ago, but it's about a release from quite a long time ago, the free netlabel EP version of morpheme that the electrolyt label (andreas of lipstick/sunstroke militia fame) put out a while after the full album was originally released...

"behind Sydney, Australia-based Telafonica are Adrian Elmer, David Hughes, and Marcella Hughes. (Adrian Elmer, for instance, is at the moment more known as a prolific reviewer at Cyclic Defrost, one of the coolest webzines all around the world). However, 6 years ago Telafonica functioned as a combo mixing up bouncy yet mesmerizing electro beats with slowly evolving indie scaffolds which are infiltrated with somewhat sound, hirsuit layers. After many laps on it you can admit all these 5 tracks are on the ball. A classic (whose longer version is available at Bandcamp)."

- Borealiscape - Recent Music Heroes Blog


old review

i found this old review via the gate today. it's about the first show we did at the gate in may 2010 - it's quite amusing...

First up on the bill last night was Telafonica. They style their music as “traditional (&non) song structures utilising live instruments, soundmachines and computers” while asserting that “the pop song lyric book is never far from hand“. I wasn’t particularly impressed by the stuff they played. To me it appeared to be an attempt to get as many unusual instruments and sounds as they could and mash them together into something that wasn’t particularly musical. Throw in some seemingly nonsensical or meaningful lyrics and there was the performance. The only real satisfaction I took from them was the pre-produced beats they had which were pretty jazzy and almost funky.

- Samuel Law
(the full review of the show is here)


more future

so i was discussing this whole 'sound of the future' thing with bec and it appears i probably should clarify what i exactly meant by that. i think it basically means anything that is new and not-before-heard. of course, once it's created, it's no longer of the future but the point is, no-one seems to be really actively trying to make actual sounds that have not been heard before anymore. so, when i say, making the sounds of the future, i don't mean trying to predict what might happen in the future. rather i mean making things that aren't buried under the weight of the past.

i've also been thinking that the reason for it being largely absent in the last 10 years is that the technology of sound generation hasn't actually progressed in the last 10 years. during the 90s (and, i guess the 80s, but that was before my musical times), new ways of actually creating sounds were being developed really quickly. new forms of synthesis were invented, so whole new actual sound worlds came into existence very very regularly for artists to use that didn't previously exist. which made it very easy for artists to sound like nothing that had come before and, therefore, making their music easily 'futuristic'. but that technology hasn't changed much since then. processing power has definitely increased (exponentially) but not the actual sounds. so artists can't really rely on their technology to make the future anymore. so it has to come from somewhere else.

bec and i have been watching ken burn's 12 part history of jazz documentary over the last few weeks. one of the things that has most struck me is that all of the progression was based on using the same instruments in new ways. and the plotted path of jazz's development is basically just jumping from one innovator of an instrument to another. the technology doesn't change, but you can hear how each progressive style would sound alien to the people immediately before it, even though the instruments are identical. i think that is where some of our keys might lie. i'm actually quite excited at the prospect of mixing some very un-rock and un-electronic instruments (squeezeboxes, ukulele et al) with very electronic rhythms. and i'm also toying with some jazz inspired ideas of rhythmic progression which abandons the rock/electronic mode of a solid, stable rhythmic pulse. that's where my musical head is at. this week, at least.


jjj unearthed

got an e-mail today to say that we have been added to triple j's unearthed radio station playlist. they've also got us as one of their 3 artist spotlights. i assume that lasts for a week.




so, now that the album is out and we're heading towards the end of the remix eps etc, no doubt all your minds, as mine is, are thinking about what our next album will be. as promised a few days ago in the car on the way home, this is a post to find out what people might think would be a good direction to go for the next major piece of work.

i have literally dozens of half finished songs/pieces of music (for bec's benefit) on my hard drive but, rather than just keep making things as they happen, i thought it might be nice to do something we've never really done which is to plan out a bit of a direction before we start. we may well use lots of things that already exist, but pushing them in a uniform direction would be good, i think.

soooo...what are some ideas people think we might pursue? some key words maybe? artists to look at? could be to do with the sounds, the lyrical themes, anything. should we all pick up new instruments and make a garage rock album? a folk album? an acappella album (raw or processed)? an all electronic instrumental album? something combining some of those?

would love to hear what everyone thinks...


jjj unearthed

a few nice reviews of heartbeatings for those with heartbeats from jjj announcers on telafonica's jjj unearthed page.

Heartbeatings For Those With Heartbeats
rating: 4/5
What a voice! Really nice percussion and soundscapes too. It's great to hear a band with heaps of ideas - who can still deliver a killer melody.
Dan Buhagiar, triple j

Heartbeatings For Those With Heartbeats
rating: 4/5
Telafonica seems to exist in a different headspace to most other bands. So many different ideas and sounds compacted into a mutant indie-pop song.
Dom Alessio, triple j

would be nice if that translated into some jjj airplay but it hasn't so far!


I Can Hear There's A Peace In The Dark Remixes

The I Can Hear There's A Peace In The Dark Remixes EP is available for free (or pay what you like) download via Bandcamp.

Released January 1, 2012

The Sleeping With The Fishermen Remix project took a break in December, 2011, so that the album itself could be released. I Can See There's A Peace In The Dark sees the remixes flow once again.

First up is Australian legend, Dave McCormack (Custard, The Titanics, The Polaroids) who picks out the quirks of the track, ramps up the joyful, playful bits and presents a blissed out, summer groove. All artists were given free reign for their remixes - told to do whatever they like with the tracks. Canadians, Sally Paradise, go all out and actually cover the track for their version, creating a luxurious dream-pop with grainy synths, lazy guitars and canyons of reverb. Old friend Karoshi continue their run of sublime Telafonica remixes, glitching up, vocoderising and looping some vocal lines in a half-time stutter of moody atmospheres. America's Docile takes the harmony vocal and turns it into the main melody of a completely new chord structure, filled with piano and arppegiating synths to create music that could be soundtrack the emotional crux of an indie film.

If you would like to create your own remix of I Can Hear There's A Peace In The Dark, the original stems can be downloaded for free at tiny.cc/peace-in-the-dark. Download these, create your own remix and send it to contact@4-4-2music.com. We will post all remixes on another Bandcamp page and split any 'pay what you like' earnings 50/50.