"... When I first met Chris, Jess and Dan, they were all living in Western MA and I was in Eastern MA. And when they recorded this album in the Pacific Northwest, I had just moved to the Pacific Northwest. Though Chris and Jess had lived and created music in the Bay Area and Portland, Maine prior to their tenure in Western MA and have since moved back to the Bay Area, their music (Fat Worm of Error, Angst Hase Pfeffer Nase, Schurt Kwitters, White Limo) came to define certain aspects of the Western MA 'noise' scene of the late '90s/early aughts... while Dan Greenwood's music as Diagram A came to define an almost photonegative of these qualities, sharing some of the absurdity, conceptualism and instability with an added intensity, viscerality and violence . . . Once in Washington, they recorded multiple sessions of Chris' floortop guitar and electronics, a guitar Dan had modified with motors and springs, Dan's homemade cracked electronic circuitry, and one of Seattle instrument builder Dave Knott's stringboards. Combined with these were recordings made in and around Port Townsend's historic, decaying military installation at Fort Worden State Park, including recordings in Fort Worden's legendary two-million-gallon cistern, which has a dizzying 45 seconds of natural reverb. The cistern is well known as being the recording site of the very first Deep Listening Band album by Pauline Oliveros, Stuart Dempster and Panaiotis, released in 1989. Chris, Jess & Dan brought down an analog synth, a clarinet, a Marantz tape recorder (and some tapes) and wandered throughout the cistern's roughly 200-foot diameter. Side one begins and ends with a heavy emphasis on skittery, sometimes abrasive, anxiously controlled electronics, particularly the idiosyncratic sound of Dan's crackling devices. Things become more mechanistic and open before offering a glimpse of the cistern recordings which will come to dominate side two, but the side closes out with more sonic steel wool. This serves to highlight the spaciousness of side two. The group utilizes the unique acoustic properties of the cistern to great effect, allowing the sounds to activate the space's resonance and then step aside. Amidst this Gothic cathedral of reverberating tones are delicately interwoven recordings of trains and thistly electronics creating a palpable foreground and background . . ." - Greg Kelley, Seattle WA, 11:11pm, 11/11/18.
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.
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