"The sculpture at the center of the action -- a plexiglas orb housing a seven-microphone array originally installed as part of an exhibition the artist mounted at Portikus, in Frankfurt Germany -- performs a recursive operation, listening to and recirculating sounds continuously morphed by feedback and reflection. This machine music repeats itself in seemingly endless versions, abstractly and in an evolving relationship to the grammars of reproduction and performance, presence, absence, and accumulation. Later, recorded traces of this installation rendered as musical notation produce a series of events -- concerts that explore the outcomes of the acts of amplifying, writing, and listening. The four sides of the album Deathstar follow four such events: first, the installation of the Deathstar in exhibition space; then, a piano performance, also within the Deathstar's machinic environment, of a recording of the installation that Rosenfeld notated on paper; then, her re-notation of these recorded traces in the form of a concerto for piano and chamber orchestra, all aggressively amplified through a wall of guitar amps; and finally, the orchestration's reduction to something like chamber music, with acoustic instruments tasked with the representation of an ever more attenuated body of traces. Throughout, the extraordinary virtuoso pianist Marino Formenti and ensembles MusikFabrik (Cologne) and Yarn/Wire (New York) extract a dazzling variety of sounds from their readings of the work's written and acoustic forms. Deathstar is a complex and monumental work from a composer who has long explored the limits of form as an artist and as a listener." - Shelter Press.
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.