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Supernova 3 & 4

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INT 030 | MC
PEACH PIT music for three films

release date: may 20th, 2013


Although I’ve been writing these types of texts for several years, rarely have I had an opportunity to write about a band that could, by its significance, be compared to Peach Pit. Likewise, I have never been entrusted in the past with the honor to write about a band that I personally keep high on my scale of the most (important, influential) performers. Because of that I would like to thank the publishers for their shown trust in their choice of writer for the annunciation of this release which stands before you.br> In 2003, amongst the concerts in Split’s “Kocka” in which I began to walk through Croatian underground, same to life my first contact with their music. Peach Pit then had already two albums behind them and a cult status on our small scene. Not knowing anything about them, I stood completely shocked with the new sounds I came across. The peak of my astonishment was their use of two sets of drums at the same time – for me to that day an unthinkable concept of a band’s lineup. They completely won me over just with that. The next year I went only on one concert outside of Split – theirs. Sometime after I moved, while I was straying, on my first night there, through the center of Zagreb, I ended up, completely accidentally, on their concert. After, I was asked to contribute in the making of the cover for the album Sportrock and today I regularly listen to their rehearsals from the other side of the wall… In short, it was clear that for me they had become one of those bands.
With no version of their lineup or faze of their artistic progress has Peach Pit come across bad material, which is a usual flaw you can see in other bands that try to find, from one release to another, various approaches to their musical performance. The key of success to the musical diversity of Peach Pit lies in the careful dissolution of the smallest defining elements and in their excellent comprehension of the esthetic forms of genres from which they come with their inspiration. Easily combining sounds that would, outside of the counterpoint in which they were brought to, belong to one genre definition, in their own way, they transcendent their own boundaries and generate their recognizable expression. And then when they cast in the light noisy loud, and post-rock melodic and playful, or perhaps completely mathematic complex texture, they perfectly deliberately manage to put them all in a profound whole, no matter what is happening in the background. With such an artistic approach, first as a trio, later as a quartet, and again as a three way lineup they came upon equally valuable albums without any qualitative oscillations in ideas, technical performance, or in the listener’s experience. Peach Pit has therefore, which will notice anybody who at least flies through their discography (indeed recommended if you want to fully experience them), despite all of these variations kept its true substance – however they seem different than on their former release, the uniqueness is easily recognizable.
In that sense you need to observe the three musical – film experiments found on this cassette. The abundance of diversity presented on these recordings testifies how much the band is adjustable to situations in which their artistic freedom, although nominally unlimited, however had to be sustained with some of the rules of this visual media set in advance, like duration or the content of certain scenes. Listening to these recordings without watching the films for which they served as a base might seem as an absence of the complete experience, but the material that is presented here is, nevertheless, enough coherent so it can function outside of the context in which it originated. Although in bigger part it has a more experimental character than earlier releases, this material kept all of the earlier mentioned features from which immediately clear who stands behind the instruments. With this Peach Pit prove that they are truly complementary with these moving and visual media, in other words, they are “television” and “film” types as much as they are musical. After all, as a confirmation of their strong interweaving with film as individuals, it is enough to cast an eye on the tittles of their earlier compositions – on every album there are several references on film tittles, characters and dialogues.
The release begins with the film Le Ballet Mécanique, a dadaism art piece from 1924 made in cooperation of Fernand Léger and Dudley Murphy. Although there was already a same titled composition for the film, made by Georg Antheil, in duration it did not match the film, so the film was premiered without sound. It is an interesting fact that the film was not linked to the composition until the year 2000. The recording that you are listening to was recorded live in Zagreb’s “Močvara” 5/12/2012.
Performance wise, this is the least experimental performance on this album, and it’s melodic theme, with its repetitive outbuildings wriggles throughout the duration of the composition. Musically, it is nearest to the era of a four way lineup from the album Sportrock (joint release with Majmoon) and an unpublished album Music For The Fruitcake Generation. The recording was carried out by Igor Mihovilović and Willem Milićević.
Most certainly one of the most famous surreal (and silent) films, Un Chien Andalou is a joint accomplishment of Luis Buñuel and Salvador Dalí from 1929. The film was premiered accompanimented by a record player on which Buñuel played fragments from Richard Wagner’s opera “Tristan and Isolde”, as well as recordings of the Argentinian tango. Those recordings were added to the modern version of the film in 1960. This performance of Peach Pit considerably leans on usage of cacophonic, abrupt guitar chords acoustically common to new wave expression, while there is hardly any melodic transit. The composition ends with an unsuspected industrial solution – terminating a guitar with a jigsaw. Generally, this piece could be roughly compared with the raw material of U.S. Maple. This recording was carried out by Ivan Ramljak in “Močvara” live 25/9/2001.
The B side of the cassette brings the soundtrack for “Vinko na krovu”, a student criminalist film by Nebojša Sljepčević from 2000. The recording is divided in nine untitled parts, or better yet miniatures which, less in theme, and more in the musical sense add on one another. In the foreground the accent is on the guitars, but the whole approach in carrying out the recording is most similar to the material from the EP Autom / Christmas Greetings Card ’98. One segment of the soundtrack contains the theme of Duke Ellington’s composition “Caravan” and experiments of Sonic Youth and guests from the SYR series of releases. The soundtrack was recorded by Mihael Bele, a member of the band in former studio Kozmo in 2000.
The whole release was mixed by Mihael Bele, and mastering was done in collaboration with Hrvoje Pelicarić. In a limited edition of 70 cassettes released by Guranje S Litice (Croatia) and Interstellar Records (Austria), two labels whose efforts are most creditable for the realization of, in good part, new as well as some older releases of Peach Pit in the last five years. Video footage of the performances from side A can be found on YouTube and Vimeo.
In the end, I would like to try to finish this text (because I could write so much more about Peach Pit) with a wish that you will enjoy this intriguing, although more experimental and maybe only for a limited circle of listeners interesting release. If you belong among the ones who are just getting to know this band, don’t think that this release is not targeted for you. Yet, it could serve you in some way as an accelerated guide through the discography of this band and lead you on long companionship with peach Pit in the future that, hopefully, brings out more of their releases.

/a1 le ballet mécanique soundtrack
/a2 un chien andalou soundtrack
/b1 vinko na krovu (part I)
/b2 vinko na krovu (part II)
/b3 vinko na krovu (part III)
/b4 vinko na krovu (part IV)
/b5 vinko na krovu (part V)
/b6 vinko na krovu (part VI)
/b7 vinko na krovu (part VII)
/b8 vinko na krovu (part VIII)
/b9 vinko na krovu (part IX)

mihael bele (guit, bass)
franjo glusac (guit)
bruno motik (guit, eccept on A1)
bruno vidovic vorberger (drums)

recorded at:
(a1) mocvara, zagreb, croatia by willem milicevic and igor mihovilovic on december 5th, 2012
(a2) mocvara, zagreb, croatia by ivan ramljak on september 25th, 2000
(b1-9) studio kozmo, zagreb, croatia by mihael bele
mastered by:
(a1, b1-9) mihael bele
(a2) hrvoje pelicaric
artwork by: artocity
line notes by: petar pecur (translated by matea munitic mihovilovic)

album [mp3/zip]
artwork [tif]

Die cineastischen Qualität ihrer Musik(en) hat das kroatische Bandkollektiv Peach Pit hier schlüssigerweise gleich an drei Filme gekoppelt: an das dadaistische, 1924 entstandene Le Ballet Mécanique von Fernand Léger und Dudley Murphy, an Der andalusische Hund, 1929 fabriziert von Luis Bunuel und Salvador Dali – und an Vinko na krovu (= Vinko am Dach), einem 2000 von Nebojša Slijepčević gefilmten Krimi. Letzterer Soundtrack zum unbekanntesten Opus bildet den eigentlichen Höhepunkt dieser Interstellar-Cassette. Vieles kommt zum Einsatz, alles trifft den Nagel auf den Kopf, von Breitwand-Avantrock und kürzelhaften MathRock-Gitarrenskulpturen bis hin zu Surfrock-Elementen, die angesichts ihres Fleischgehalts als Surf & Turf durchgehen könnten. Hell und intensiv leuchtet der Underground von Zagreb! (FREISTIL felix)

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