Intersystems peachy front


Intersystems - Peachy

Format: LP
Label: Pentagon ALS 142
Year: 1968
Origin: Toronto, Ontario
Genre: electronic, experimental, noise
Value of Original Title: $600.00
Make Inquiry/purchase: email
Release Type: Albums
Playlist: Ontario, Experimental & Electronic, 1960's


Side 1

Track Name
Experienced, Not Watched
Carelessly Draped in Black
A Cave in the Country (shown as "Draped In Fluorescent Orange" on original vinyl)
A Shower For Someone Else (shown as "Grand Piano" on original vinyl)
There Can Only Be Noise Between Us (shown as "2 Apples" on original vinyl)
Let's Go Get Them Guns (shown as "Assortment of Lead Pipes" on original vinyl)

Side 2

Track Name
So They Took Them Guns ( shwon as "Ear Splitting Trumpet" on original vinyl)
Friends Laughed at Him (shown as "Music Growl & Scream" on original vinyl)
There Ain't No Human Voices (shown as "Fred & Harry Finding Guns" on original vinyl)
Morelli at the Moment of Electrocution (shown as "For Two to Four" on original vinyl)
Fancy Took Them
From The Game to Pluck



Intersystems - Peachy

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Intersystems-Peachy LABEL 02

Intersystems peachy label 01

Intersystems-Peachy LABEL 01

Intersystems peachy front



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The sound work of Intersystems cannibalized stray bits of McLuhanism, psychedelia, Cagean experimentalism, and even the modernist gestural strains of nascent electronic music, yet it was all couched within a very particular DIY ethos. Peachy pushes the meticulousness of Number One Intersystems (NMN 093-1LP) even further and, as such, represents a more balanced amalgam of Intersystems' various disparate stylistic and emotional elements. The truncated opening cut "Experienced Not Watched" is deceptive, beginning with lush, tuneful organ swells that almost border on the ecclesiastical and washed-out metallic pulsations. Yet, the track comes to an abrupt end. What follows is thinner and more gestural, imbued with both poise and awkward buoyancy, owing more to musique concrète than anything on Number One Intersystems. Each sound is framed within ample negative space, inviting listeners to savor each moment, yet its dynamism, and boisterousness, mischievous character steer it well away from being too precious. This impression is reinforced by the decidedly rugged and opaque timbre of much of the sonic activity. Peachy's balance can also be attributed to its consistent flow. The album may superficially be divided into discrete tracks yet the pieces follow one another seamlessly, conveying a single arc, with many continuities and recurring motives. Many of these motives are just mere pithy jolts or shudders of white noise that dart in and out of the aural scenery. In "So They Took The Guns", it matches the gestural profile of the opening cut - it's suddenly lopped off, shifting decisively back toward a slice of Parker's grim narrative, planted squarely in the foreground amidst various percolating abstract chatter. Just as the musical textures have a more unified logic, Parker's texts are also more integrated into the total picture, both aurally and thematically. Despite its sharp veerings into death and violence, the abrupt leaps have a more absurd timbre, than one of abjection and morbidity. And the sudden shifts, of course, are complemented well by the restless intensity of Mills-Cockell's contributions. Parker's voice is subject to a wider spectrum of electronic treatments than before. They're also situated in various places, both spatially and within the mix. Re-mastered by John Mills-Cockell. Mastered for cutting by Giuseppe Ielasi.

An electronic, progressive concept group from Toronto, Ontario. Cockell later formed Syrinx, a progressive techno-pop band in the early-seventies. sometime referred to as #2.
-Dreams, Fantasies, Nightmares

John Mills-Cockell
Blake Parker
Dik Zander
Michael Hayden

Produced by Jack Boswell
Photography by Brian Thompson


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