INTERSYSTEMS

it moves casually, with its short tail and a head like a rat, but it is now definitely a dog... when kay looks after him, he sees the dog in a clearing, a huge log with branches as legs. it is a very old, very big log, with bark swinging down, hanging loose like a dog's tail. the bark however remains looking like bark. it is definitely an animal, but with no head. it is a log which acts like an animal, grazing like a horse. when the grazing horse explodes, many small wood slivers are embedded in kay's arm. for that's the way it is.

http://www.forcedexposure.com/Catalog/intersystems-intersystems-3lp-box/NMN.093LP.html

yeah i can't justify it. i gotta justify my love.

of course i'll feel like a dummy for not getting it.

i mean if it were 50 dollars, you know?

Alga Marghen's vinyl pressings are so crackly and noisy, they have such incredible taste in artists but I have learned to hesitate before going in on one of their vinyl-only releases. Still impatiently holding out for them to out out those Eliane Radigue 60's pieces on CD or even just a download, for instance

132 page book, though...

Probably wont order, but if this shows up at Aquarius or Amoeba I might be helpless

good to know!

just talking about you milton with my pal raub roy. he just played at the store.

greenfield's favorite son, horaflora.

I watched 'Deadly Harvest' a year or so back, 70s Canadian science fiction tv film about the world's food supplies failing from global cooling over the coarse of red years and the resulting small town food riots. I will watch any 70s science fiction film regardless of quality, but seeing John Mills-Cockell's pop up as the composer during the credits made me yell out loud. Score was cheesy with the occasional demented dissonance, there's a queue for a scene where the hero is driving his truck through abandoned cities for two minutes where the editing is so incoherent and the music is so over the top inappropriate, it becomes something worth seeing

I checked out the two Syrinx records once; way more traditional. Some odd electronic moments. Should listen again.

xpost we're all lucky Raub's here, the bay has become unthinkable without Life Changing Ministries

'Red years' / two years

Autocorrect changed a slightly misspelled attempt at 'cuddling' to the word 'fucking' on a friend of mine last night, our phones are getting so bored with us

i enjoy the syrinx records but have never felt they were...essential? good though and worth hearing.

xxp - uh, could you please edit/googleproof/remove the name of that place that is an underground venue? We're in "better to be safe than sorry" mode.

apologies.

sure do miss universal admin rights for noise board posts.

sure do miss the noise board!

'why u break heart all time' nothing but a mass of missing images and not the magic fulfillment of all internet promises.

anyone get that box set? either on CD or vinyl? window is closing on whether or not to invest and I'm curious about how good that booklet is

i made an impulse purchase of the vinyl box but haven't opened it yet.

my friends at mystery train in amherst had one. couldn't resist. if i had never seen it in a store i never would have ordered it online.

waiting for a day when i can listen to/read the whole thing.

vinyl sounds excellent, to my relief after reading yr posts here, although there is maybe this teeny tiny weird surface noise in the background? they used a reel safety master for FPPI and maybe those artifacts are what I'm hearing. I did an A/B comparison with my original copy once but that's all I got right now. I never heard the Streamline CD.

Booklet is essential, if the only thing that was holding you back was pressing quality concerns I would go for it if booklet size is important to you. there's definitely a lot of full-page images and reproductions that seem like they would lose something in a CD booklet (I have not seen the CD box, though).

I'll try to add more about the book later tonight.

please do!

as a teenager I remember thinking I didn't even want to know more about Faust because it would ruin the music, and then the Wumme booklet & the 2006 CD liner notes for 'So Far' came out and the stories only made the music that much more amazing & I'm thinking it'd probably be much the same with this band

This was available on CD?

yeah, it's not listed on Discogs yet but a CD version was released after the vinyl:

http://www.forcedexposure.com/Catalog/intersystems-intersystems-3cd-box/NMN.094CD.html

Just checked, they have the CD on Amazon.

the vinyl sounds great! and it is such a handsome package. that book is a monster. playing now.

https://scontent-lga3-1.xx.fbcdn.net/hphotos-xtf1/v/t1.0-9/12688282_10154515807142137_8680179687147591752_n.jpg?oh=e5194bfc32dc7b1f4c98f9bc614c029b&oe=5732113C

agreed, and there are a lot of color images in the book too! also a facsimile reprint of a smaller zine is included separately, and the otherwordly music speaks for itself

oh wow this is on apple music

they walk and walk and finally they walk right out of the city

this is the pastoral part of the story

they are walking in the plastic fields and they are young and happy

everywhere they look it is beautiful

new screensaver mode, with audio

http://inspirobot.me/mindfulnessmode

can't believe none of you told me about this

https://intersystems.bandcamp.com/album/4

music community

#4
by Intersystems

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Sinister Pete For years I've played electronic music on the radio, Canadian electronic music at that, and this is the first I've of Intersystem. Really looking forward to the complete release! Favorite track: Sonny Abilene II.
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Ghost 03:48 / 04:46

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1.

Ghost 04:46


buy track

2.

Revelation of the Birds 07:05



3.

Sonny Abilene I 05:03



4.

Sonny Abilene II 04:46



5.

X-Ray Animals 04:50



6.

The End of the World 09:10



7.

Unfinished World [CD/DIGITAL BONUS] 04:38



8.

Pedestal Park [CD/DIGITAL BONUS] 07:11



9.

Eddie [CD/DIGITAL BONUS] 03:38


about
PLEASE NOTE THIS IS A PRE-ORDER - ships on/near the April 30 2021 release date.

Toronto’s infamous psychedelic multimedia collective, Intersystems, makes a surprise return with a new full-length release. Coming out via Waveshaper Media, #IV documents Intersystems’ first new material since 1968!

Even back when they arrived on the scene in the late 1960s, Intersystems stood out as uniquely ambitious and hard-to-define. Comprised of architect Dik Zander, light sculptor Michael Hayden, poet Blake Parker, and musician John Mills-Cockell (of Syrinx, Kensington Market and more), the group mounted groundbreaking pan-sensory events while releasing a trilogy of defiant and disorienting records that have since become coveted collector's items.

Where more conventional purveyors of psychedelia seemed content to use fuzztone guitar and orientalist tropes to approximate altered states, Intersystems built psychedelic experiences of their own from the ground up that embraced all the euphoric wonder and terror. The sonic aspect alone offered a singularly unsettling vision. They initially wrangled homespun gadgetry, feverishly spliced-together tapes, and mutant beat poetry, but soon became among the very frst to deploy a Moog Synthesizer. Their custom modular rig— purchased by Mills-Cockell directly from Robert Moog's Trumansburg Headquarters—was the first of its kind in Canada.

The 2015 reissue of Intersystems’ full discography by Alga Marghen prompted acclaim from a number of major outlets. Among them, PopMatters hailed the set as "one of those great lost recordings (three of 'em actually) that comes from the lysergic era." Shortly thereafter Mills-Cockell’s complete work with Syrinx was reissued on RVNG Intl. to similar critical applause.

Nearly fifty years after their “final” album Free Psychedelic Poster Inside, Hayden and Mills-Cockell decided to revive the long-dormant project with a series of sessions at Hamilton, Ontario's storied Grant Avenue Studio (past clients include everyone from Brian Eno to Johnny Cash). The resultant music remains remarkably congruent with the project's original impulse, yet irrefutably of the present moment. Taking cues from its stark, aforementioned predecessor, a modular Moog synthesizer system is the primary instrument, but here the sonorities that Mills-Cockell conjures are dynamic and diverse, blending barbed wire bass-lines, Subotnickesque chirps, gestural plumes of colour, percussive fligree and more. The 2007 death of poet/lyricist/ vocalist Blake Parker also drastically impacts Intersystems sound, especially since the alternative the group devised is so audacious. Parker's words are rendered electronically and the computer-synthesized voices alternate between an eerily life-like delivery and slurred cybernetic faltering, bringing a glossy dystopian veneer to the group's anxious surrealism.

Intersystems may have cut their teeth in the 60s, but make no mistake: their resurfacing is neither a “comeback" nor a wrong-headed stab at reliving their heady glory days. Rather, #IV is a mature and fully-realized continuation that sees Mills-Cockell and Hayden returning to the project's core ethos with the myriad experience they’ve both accumulated over the fve intervening decades. The aural concoctions it comprises are no less perplexing than their earlier counterparts; bursting with new psychoactive ingredients, while reminding listeners of just how radical Intersystems was in the first place.
credits
released April 30, 2021

oops sorry

I know two of the thumbnail people