Christian Zanési on Grand Bruit (1991): The great mobile sound bodies have an ordinary yet amazing ability to place the listener-traveler within, as if he or she was inside a giant double bass, in this case a train stroked by a double bow: the rails and the air. In 1991, I explored this phenomenon during my daily commute from the studio to my home. I used only a 21 minutes recording and treated it as a single sound object. I then processed and enhanced it as a photographer would have done, immersing it in successive baths. The title I chose for this singular form was Grand Bruit."
Christian Zanési on Stop ! lhorizon (1983): "Saturday morning, nine oclock as I reach the studio. No one here. I only turn on the spotlights as the fluorescent tubes are too noisy. I switch the power on, shut the door, unplug the telephone. I then switch the mixing desk on, which sends an electronic impulse into the amps. The four speakers react individually with a very brief and low hiss. A kind of presence. I havent listened to anything since the evening before and my ear is refreshed by a nights sleep. I feed the original mix into the master recorder and sit down in the center. Remote control: PLAY With the first sound I close my eyes. The studio instantly vanishes. Another place, a much larger space opens up. I enter it. I have the very distinct feeling that music is merely a great noise, chiseled inside with a thousand details. It opens up like a living organism to let my hearing wander across it. A magnetic relation quickly occurs and all the sounds that constitute this great noise draw me towards the East. I accept this direction. Later, much later, I reach a distant point on the horizon which pulls me towards it."
Cut by CGB at Dubplates & Mastering, Berlin, June 2017; Digital transfer by Jonathan Fitoussi; Translations by Valérie Vivancos; Layout by Stephen OMalley; Coordination GRM - Daniel Teruggi and François Bonnet; Executive Production - Peter Rehberg." - Recollection GRM.
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.