"Sandro Mussida presents EEEOOOSSS, music on three tuning systems, for electric guitar, bass clarinet and cello samples. Personnel: Alessandra Novaga - electric guitar (e-bow), tuning: twelve true fifths (*renold I); Edgardo Barlassina - bass clarinet, tuning: hypodorian aulos; Sandro Mussida - cello, tuning: just intonation (*II partials). Mastered by Giuseppe Ielasi. Edition of 300." - Grandangolo.

"During the last few years, I've found myself more and more attracted to sounds that are somehow connected to slow, intentional musical gestures. This slowing down of the musical gesture makes it possible for me to pause, to observe and listen to the richness, the details and nuances of the timbres. It also reveals the relationships between sounds in space and time. This kind of listening from a closer perspective also amplifies the connection between timbre and frequency making it possible to investigate even the smallest differences in the intervals. EEEOOOSSS is the encounter between three instruments, each one tuned according to a different tuning system. This meeting was conceived and designed over a period of years but only once took place in the Church of S. Giusto, Volterra, Italy, during the night of the 12th of August, 2018, in the nave, the transepts and the choir. Each of the three temperaments embodies specific characteristics, amplified by the instrument assigned to play it. The dark (almost pure and 'spaceless') tone produced by the e-bow on the strings of the guitar gives voice to the clear tones of the Pythagorean Tuning. The air resonating into the clarinet produces the frequencies of a system derived from the tuning of the ancient Greek flute. As a conclusion, I recorded on the cello one of the scales obtained from the exact relations observed in the partial harmonics of the second octave. Each of these three sounds possesses, in fact, a very different balance between inharmonic and harmonic qualities, from the almost pure sound of the e-bowed electric guitar to that of the most inharmonic, horse-hair bowed cello. Thus, electric guitar, clarinet, and cello are treated as raw material, modeled in their form (primarily through filters and envelope constraints), but without changing their individual distinctive timbral character. The real shaping factor, is, in fact, the architectural space, which added multiple reflections to these materials during the live session, amplifying asymmetric partials, dilating some of the frequencies and interweaving these three scale systems one into the other. Temporarily structured into the domain of software, the gestures acted upon by these sounds are complete in itself. Repetition is illusory, it appears only on the surface. These three meditations are also an occasion to investigate the boundaries between the abstract dimension of electronic music and the living body of a concert." - Sandro Mussida Firenze, April 5, 2019.
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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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