Separated from both its reputation and its sleeve art, the music of Muslimgauze explores the relationship of visual sensations -- space, color, depth, illusion -- to the listening experience. The music on Maroon is dub-like inspired techno music, laidback with voices appearing randomly in the mix. The thick drums and rich found sounds that densely populate the soundscapes on Maroon give materiality to the warm presence of the synth washes. The music is so layered and textured that it ceases to be aural and exists almost solely in the realm of sight and touch. Devoid of reference to any external reality, Muslimgauzes ambience gets remolded by subjective experience and moved around in the memory. By shifting the quality of perception with the producers sleight of hand, Bryn Jones (the Mancunian behind Muslimgauze) makes explicit the interiority of the senses. Thus, the fact that our inner life determines our relationship to the world outside becomes the musics unspoken subject. Divorcing Muslimgauzes music from its image is like listening to Take That without seeing Robbies pelvis or Marks pouting. This is precisely why the music is so effective. Relocating musics power within the listener instead of as an external force acting upon the listener forces reappraisal and reinterpretation. The muezzins wailing call to prayer and the shrieks of women mourning the dead conjure up images of a fierce death-to-the-infidels" fervour in the Western imagination, and are recast as holy prayers for the ultimate, womb-like peace that most ambient music aims to express. The usually easy exoticism of sampled tablas and ouds instead hint at the dread on the road to the water-colored bliss of run-of-the-mill ambient and force the listener to internalize difference and confront the received images of Islam that Muslimgauze detour by such strong powers of suggestion. Handmade thick cardboard cover, sewed, with text gold screen-print. Mixed By John Delf. Originally released on CD in 1995. Limited edition of 500 (numbered)." - Staalplaat.
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.