""Reidemeister Move's Arcanum 17 is a sound novella recorded in 2012 in remote Eastern Quebec. Reidemeister Move is Christopher Williams, a composer and contrabass player who worked with Ben Patterson (amongst an army of other mentors) and Robin Hayward, a microtonal tubist and composer who has performed music written for him by Christian Wolff and Alvin Lucier. Arcanum 17, based on the André Breton novel (1945) of the same name, was co-written by Williams and Charlie Morrow (one may recall that Recital published Morrow's fabulous Toot! Too LP last year (R 041LP, 2017)). Charlie introduced me to Williams in late-2016 (introducing is one of Charlie's specialties). Once I discovered Christopher's association with Fluxus composers and Malcolm Goldstein, I figured our conversations would go late into the night. We did not talk, though. And our first meeting consisted of Christopher sitting me down to play a piece of his music. I was initially turned off by the situation: such a bold gesture from a relative stranger (a bottle of wine and banter would normally be on the menu for such an occasion). We turned the lights to a dim glow in my living room and he played the CD for me all the way through: 45 minutes of hyper-silent listening. I sank into the experience with comfort and ease with the first wash of water from the speakers. Arcanum 17 is paced perfectly: field recordings, whispered narration, and cloudy bass and tuba streams fall in and out of frame with cinematic grace. A transportive phenomenon of an album, it sonically echoes Williams' description of the Breton novel: 'A thick, existential little book, a reckoning of and with everything that brings him here: Canadian wildlife, the morning star, the myth of Melusina, feminism, the French education system, the ecstasy of newfound love. His alchemical blurring of prose and poetry, dream and waking states, natural and psychological landscapes, and past, present and future, brings these topics inimitably together. Always on the cusp of development but never quite.' I now am grateful for the serious listening lesson that Christopher sat me down for: both because the sound piece was beautiful, and as a reminder to treat your art with respect and to not slight the weight of your passions." - Sean McCann, October 2018. Includes 9″ x 6″ 20-page color pamphlet with photos and program notes. Edition of 200." - Recital.
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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