""While certain recognizable fingerprints are found throughout the body of Daniel Lentz's (b. 1942) work, he has never been content to settle within one particular style or mode of music for long, moving ever forward in an evolutional continuum, an overriding arc that defines his growth as a composer -- beginning with traditional music, diverting into electronic music, moving into performance art pieces for his various touring groups, then sallying into minimalism, followed by work distinguished for its revolutionary use of live multi-track recording in performances in the 1980s and 1990s, and finally evolving into his own brand of modern romanticism. Perhaps the most important aspect of Lentz's compositions is that they immediately connect to the listener. This is because he started out as a performer, not as an academic, and from his first jazz band through years of touring his music with multiple groups, he never lost sight of whom he was writing for -- the listener. This simple intention permeates his music. Never pandering or soft-peddling his message, never compromising his artistic integrity, Lentz has gone straight for the listener all his life, and his music connects in ways that are simultaneously intellectual and emotional. Continental Divide (2003) (for string orchestra) is traveling music. And as the piece progresses the listener is swept along across this massive line of demarcation -- a line dividing perhaps more than just the west from the east, or one way of life from another. Lentz wrote the music as a testament to the many road trips he took across the American landscape, and it captures stark granite formations, the lushness of desolation, the beauty of sky and rock, and the exhilaration of giddy peaks traversed. Ending(s) (2018) (for tenor and double string quintet) is protest music at is best, music that champions life over those things that try to rip apart the fabric of the country, the society, the self."" - New World Records.
After nearly a decade of false starts, multiple game plans veering off the rails, and a handful of shattered hopes and/or dreams, the odyssey is finally complete—the new Fusetron site is here.
This is the first phase of a multipart rollout that will span the next few months: the currently browsable stock includes miscellaneous new releases from the past 8+ months (we have a lot of catching up to do), plus approximately a third of our backstock. Note that we’ve reduced/slashed prices on many titles and will continue to do so in order to make room for new stock. We’ll also be expanding / tweaking / improving / debugging the site itself (for example, we still have work to do on the automated international postage system, not to mention the inevitable inventory discrepancies that come with transferring an ancient and massive database to a new system).
Over the next few months, as we take inventory, clean house, and delve into our storage, we will be uploading thousands of additional items, gradually, on a near-daily basis. This will include the majority of the LPs, as well as many titles, in all formats, once thought long-gone. Many currently “sold out” items are likely to resurface.
Finally, once our general backstock is up (probably in the next two or three months) we’ll begin making our extensive stockpile of rarities available online for the first time: tons of random out-of-print titles, "deadstock," warehouse finds, secondhand collectibles, etc., accumulated over the past few decades.
Frequent/returning customers will be getting early access to these items. Details to follow on how this will work (a priority mailing list? a 'frequent flyer'-like program?), but it will not be based on dollars spent. We want to reward those who consistently support us, especially in the discogs marketplace era (to those who show up trying to poach five copies of a one-off rarity, and nothing else, ever… ¯\_(ツ)_/¯ ).
So—we suggest you take some time to dig through the site—even we’ve been surprised by what’s been turning up, and there’s much more to come.