Through a remarkable and singular body of work, over the course of the last decade, the composer and percussionist Sarah Hennies has slowly emerged as one of the definitive voices of her generation. Initially coming to focus as a member of Austins experimental music scene during the early 2000s, before relocating to upstate New York, with a delicate, clattering grace, she has continuously offered vision, conceptual armature, crucial understanding for the contemporary proximity of avant-garde, and experimental practice. Entirely of her moment, she defies what we know and expect, owing allegiance to none. Hennies has been darting around the edges of modern composition for years, but that world has never been an entirely comfortable fit, nor is it the best framework and context within which to approach her work. She is better understood in the proximity of figures like Jim ORourke, a creator of a countercultural music, which incorporates everything, while owing loyalty to none. Hennies could equally be framed with composers like Steve Reich, Arthur Russell, Julius Eastman, and Mary Jane Leach, all of whom struggled to create more inclusive musical hybrids, attacking the institutions as they stood. As these figures once were, Henniess position within the contemporary landscape is challenging and requires work to understand. Her music isnt always what it seems. What is unquestionable is that it is entirely of this moment and not a product of appropriation or pastiche. Comprised of two site-specific compositions -- Foragers" and "Embedded Environments" -- recorded in a silo in Buffalo, New York, these recordings are a crowning moment within the long arc of Henniess practice. Each work is composed for a quartet of percussionists -- Jason Bauers, Tim Feeney, and Bob Fullex, with Hennies contributing on vibraphone and percussion. While "Foragers" and "Embedded Environments" are products of Henniess quest for elemental meaning and relationships within sound -- those which lay beyond traditional understandings of structure, beat, and tone, here there is a third and unfamiliar actor in play: the space itself. Activated by the silo for which they were composed, Henniess broken, staggering rhythms and resonances are offered new freedom through a seductive Trojan horse, pushing them toward even more complex and jarring depths. "Foragers" and "Embedded Environments" delves into a realm of ideas, proximity, and place, offering a new vision for our sonic present, and what may be to come. Edition of 300." - Blume.
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.