"Despite praise and acclaim throughout his career, Roy Montgomery hates his singing. From his point of view, it's done out of necessity, when he doesn't have anyone else around to substitute. Roughly one quarter of Montgomery's epic multi-album 2016 release R M H Q had his singing, and those are his least favorite tracks. Grapefruit has done the best they can to argue that his basso undertones are the center of his appeal throughout his entire body of work, from the first The Pin Group single on Flying Nun in 1981, through his work in Dadamah, Dissolve and on to his legendary '90s solo releases. However, is it a surprise he jumped at the idea of composing an album for other vocalists. This began as a series of alternate takes of the material on Tropic Of Anodyne, the tracks with vocals off his last release. That concept morphed into assembling vocalists to sing on new songs, and he conceived instrumental material that would fit each singer. Half of the songs came together, resulting in Suffuse. The album charts a slow progression from those who share similarities with Montgomery's rumbling vocal technique to those who come at singing differently, with minute contrasts throughout. Haley Fohr (Circuit des Yeux) and Jessica Larrabee (She Keeps Bees) bring the first two tracks, with Katie Von Schleicher following with a raw expression of emotional loss, and the sisters Clementine and Valentine Nixon (Purple Pilgrims) expressing emptiness by stripping away words, weaving their voices together through Montgomery's elastic webbing. Julianna Barwick adds drive and nuance to the foamy sonic waves of 'Sigma Octantis,' as 'Landfall' crashes in slow motion chaos over Liz Harris's (Grouper) multi-tracked layers. These compositions generously embrace their guest leaders, and for the first time in his career, Roy Montgomery has made a cogent artistic argument as to why he shouldn't be singing these songs himself." - Grapefruit.
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.