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KSV 424 / ACR X001 Surrealismus: Paris Prag Rockville

by Peach of Immortality

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RodStench all the time and care that went into putting this together is a gift. ya got 11+ hours of musical confrontations here for £15. do the right thing.
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about

This is a split release between Karl Schmidt Verlag and Adult Contemporary Recordings.

OA = original album
URA = unreleased album

Disc One (73:59)

... need "Thee" (OA) (12 July 84) 101
7th Street Rehearsal (17 Dec 85) 102/103
Above, Damien Zisk (URA, 1987) 104/105
AC/DC "That's the Way" edit (04-90) 106
Black Man Dick Look Like White Terd (URA, 1986) 107
"E" Making of Salisbury (URA, 1985) 108
The Best MUX! (OA, 1986) 109

Disc Two (76:59)

Fendi "Kampf" Clutch (aka Bluebeard's Blackout) (URA, 1987) 201/202
Ginsberg Basement Rehearsal, Rockville, MD (24 Oct 86) 203
History of Duane Allman (URA, 1985) 204/205/206
Live, Hardart Gallery, Washington, DC (feat. Patrick Miller from Minimal Man) (18 Nov 84) 207
Stud Father (URA, 1985) 208
Westminster Basement, Washington, DC, 4 Nov 85) (excerpt) (RM&TS) 209

Disc Three (75:07)

Live, Nexus CAC, Atlanta, GA (31 Mar 89) 301
Medea (URA, 1987) 302/303
"Jehovah" My Black Ass - R.E.M. Is Air Supply! (OA) 304/305
REM Session #1 (Jan 1986) 306
Succession of One (aka Of Odious Kin) (URA, 1986) 307/308/309

Disc Four (72:49)

Talking Heads 77 (OA, 1985) 401/402
Taxi zum Shoah (URA, 1990) 403/404/405/406/407/408
A/B Edits (June-Aug 1985) 409/410/411/412/413* * also on TLASILA's "Helen Butte"
The Baptist Hymnal (Initial Sessions, 1-2 Apr 87) (URA, 1987) 414

Disc Five (76:31)

The Baptish Hymnal (URA, 1987) 501/502
Live, WREK-FM, Atlanta, GA (1 June 88) 503
Six Times Since (26 Nov 85) (URA, 1985) long sequence (feat. Jon Spencer) 504
Weird Pre-Taxi Edit (1987) 505

Disc Six (75:33)

Final Hardart Session (2 June 85) 601/602/603/604/605/606
Sinatra/Xenakis (from Reel 1) (URA, 1988) 607
La Taranta (OA, lost, July-Aug 1987) 608/609/610/611/612/613
Black Man Dick Look Like White Terd (original configuration) 614

Disc Seven (73:30)

Live, T.T. the Bear's, Cambridge, MA (30 Oct 86) 701
Live, Downstairs, Athens, GA (9 Nov 89) 702
Live, The Chamber, Washington, DC (5 Oct 89) 703
Live, Porter Ellis Community Center, Macon, GA (excerpt) (9 Jan 86) 704
"180 Grady" (B-side of 1990 single "Ponyfur") (TLS four-channel backing track derived from TS edit) (Oct 1990) 705

Disc Eight (72:49)

Live, WREK-FM, Atlanta, GA (8 Jan 86) (feat. Mike Green on computer) 801
Noise NY Session Anomalies (1-2 Apr 87) 802/803/804/805
Live, WCVT-FM, Towson State University, Towson, MD (25 May 87) 806/807
Live, Fallout Shelter, Raleigh, NC (excerpt) (5 Jan 86) 808

Disc Nine (76:20)

"E" Making of Salisbury (original live dub, mixed by Jad Fair & Don Fleming) 901
Live, 9:30 Club, Washington, DC (8 Dec 85) (also part of Stud Father) (feat. Julie & Jon) 902
Live, d.c. space, Washington, DC (17 Aug 85) (edit from 1985) 903
Ginsberg Basement Rehearsal, Rockville, MD (25 Aug 86) 904
Westminster Basement Rehearsal, Washington, DC excerpt (10 Nov 85) 905

credits

released December 28, 2017

Peach of Immortality:

Tom Smith (1984-1991)
Jared Louche (née Hendrickson) (1984-1987)
Rogelio Maxwell (1984-1986)
Lowell Ginsberg (1985-1989)
Mark Shellhaas (1985-1987)
Tim Lane Seaton (1988-1991)
Mike Green (1989-1991)
Fred Ware III (1989-1991)

Collaborators:

Don Fleming
Julia Cafritz
Jon Spencer
Mitch Parker
Joseph Kennedy
Wag
Valerie Rousset
Margaret Schnipper
Jason Gibbs

Surrealismus: Paris Prag Rockville:

Compiled and produced by Tom Smith, December 2017

A co-release from Karl Schmidt Verlag and Adult Contemporary Recordings

c+p 1984-1990 / 2017 Adult Contemporary Recordings & Karl Schmidt Verlag

"It's work music. It's travail."

- Jared Hendrickson, 1985.

Note: the majority of these recordings were made under less than optimal conditions with equipment that spat and shuddered and already seemed dated in the mid-80s. We had no money, no label, no advances, not much of anything. We had amps, basements, public transport, and drugs. That was enough. We willed this music into existence despite material deprivation. We loved the way it sounded, of course. This was our normal. "HarDCore" sounded like bored clerks filing invoices - beneath our notice. Dischord was a house full of dirty hippies. We sought a happier medium, one filled with shattered strata. Ours was a paean to a future we were creating on the fly, with absolutely no hope for success. It mattered not. Being in Peach was a rough bloody haul but I remember it as paradise.

- Tom Smith, December 2017

The sound quality of "Surrealismus." Hmmmm.

Within the restricted parameters set forth in Tom's preamble, yes, recording conditions varied.

Certain basements, like Westminster, were soundproofed. The Ginsberg and 7th Street basements were not. Reverberance thus differs.

Many of the live club recordings were made with stereo cassette recorders placed on the stage by a member of the band (usually Tom).

Some board technicians of the time, whether lacking sufficient decorum or besotted by punk orthodoxy, saw nothing wrong in adding delay, reverb or vocal interjections to our performances. We had to ask them from the stage not to do so. Often, owing to the lack of monitoring in many spaces, we had no idea what was being added to the mix. Engineers unmindfully assumed we'd prefer their diminution of our intent.

In defense of good-natured, skillful engineers and mixers, we encountered plenty of them as well, and we appreciated their efforts and assistance. Special thanks go to Don, Jad, and Kramer! The people we met during the January 1986 "Fuck Sky Bear" Tour (the Peach / Pussy trip) were also uniformly pleasant, if not somewhat nonplussed.

Pleasantries notwithstanding, engineer meddling and general incompetence rendered several memorably convulsive performances unusable. These will never likely be issued. Technicians at the Pyramid in Richmond and the Metroplex in Atlanta were notably unprofessional in this regard.

Where technical staff were merely disinterested, recordings of annoying inconsistency emerged. Owing to our archival propensity, however, parallel recordings of varying quality and backups of original loops, samples and edits remained in the POI library. Restorations of the T.T. the Bear's and Nexus CAC performances - neither of which was mixed with care or fidelity - were constructed using a variety of period elements mapped to contoured outlines of the initial board recordings. As "exact" official versions of those performances do not exist, they had to be reimagined. Remapped tape edits, loops and samples were drawn from Tom's original source cassettes.

The December 8, 1985 performance at Washington's 9:30 Club was recorded beautifully, and the version presented herein, minus the intro music (Cameo) and outro blather, is 100% accurate. Note, however, that the sound dude chips in with a few minutes of kak-operatic moaning before shutting the fuck up around the time of Jon Spencer's first solo. Even "good" technicians felt they could demean their guests. (There was no "noise culture," and many people working at the venues where we performed were still mainlining Richard Marx and the Thompson Twins.) This gig, during which we opened for the Jesus and Mary Chain and, honestly, blasted them off the fucking planet, was a high point for us. Those twee hair-hopping Scots were incensed! Julie Cafritz was amazing on stage that night. Jon, obviously, no slouch. Rogelio (or "Max," as we called him), Jared and I laughed about the 8th for months. (We adored "Psychocandy," by the way. We just weren't rattled by its mega-hyped creators.)

Some of the sessions - those from Goatshead, and later recordings created at Ginsberg - were made using a four-track cassette portastudio.

The radio broadcasts were engineered primarily on four-channel boards. (Radio engineers were the most reliably professional technicians we encountered.) Bulkhead was an eight-track studio, while Noise New York was a sixteen-track facility. Ampex 456.

All of the recordings from Klang and Walking Fish were recorded direct to digital. As Tim Lane Seaton no longer has the period digital rig he used to record the "Taxi"-era tracks, we had to fall back on the DAT masters. Unfortunately, none of us have a working DAT player at the moment! So, we used cassette transfers of the DAT mixes derived from Tim's original digital mixes. One of these days we'll get round to doing a proper "Taxi zum Shoah" restoration.

Peach of Immortality's default medium was high-bias chrome cassette. There'll be a bit of hiss ahead.

Mastering on "Surrealismus" was carried out with a very light hand. An unobtrusive graphic equalizer spread was used on most of the tracks; Audition's "Amplify" tool was engaged to cut or raise db levels (usually by +/- 1db) where necessary.

We were often high. We took truckloads of acid, or speed, or something or other. It stands to reason that some of the wayward engineering found herein was created under the influence. Where EXTREMELY HOT WAVEFORMS were found, I first reduced their amplitude (between -10 and -15 db), then proceeded with a standard post-production regimen until something approaching semi-(ab)normal emerged.

Keep in mind that "Surrealismus: Paris Prag Rockville" is not intended as the last word on Peach of Immortality, nor is it a compilation of all extant archival material. There are crates of original masters still in our storage facility in the States that have yet to be digitized or otherwise transferred.

This album is meant primarily as a means to restart a conversation. Peach of Immortality were important. More people need to know about them.

Your hands have been held long enough. It's fucking intense music. Dig in!

- POI, December 2017

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Karl Schmidt Verlag Hannover, Germany

ATTN: We are currently taking no physical orders!!!

Karl Schmidt Verlag is a label and publishing organ founded in October 2008 by Tom Smith (To Live and Shave in L.A., OHNE, NH Meth, Pussy Galore, et al.) in Hannover, Germany. Physical albums are issued as micro-releases.Genre is obsolete! ... more

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