"New York Downtown producer/composer Peter Gordon returns with Eighteen, his first album in three years. Gordon on Eighteen: "Eighteen: the year of release, 2018. Eighteen: the age at which I first used a synthesizer. In creating Eighteen I worked independently in the studio, building up tracks with synthesizers and found sounds. After working with the tracks for several months, I shared them with some musicians, who added instrumental layers, sharing a similar working process in our personal recording spaces. The musicians are: Gabe Gurnsey (drums) of Factory Floor, Larry Saltzman, (guitar) known for his work with Arthur Russell and in demand by acts such as Simon and Garfunkel, Paul Nowinski's (bass) credits include Les Paul, Matt Mottel, (electric piano), is half of Talibam!, while Lewin Barringer (guitar), is a producer in Philadelphia. After mixing the final tracks, I brought the mixes to Berlin. There I worked with engineer Mike Grinser who helped to give the album a unified sound. I think of this album as electronic music. It was created in my home studio, using analog and digital synthesizers, found sounds, and instrumental parts contributed by friends. Finely crafted melodies and harmonies are set against subway noises, street construction, and distant foghorns. Deliberateness paired with randomness: this is what guided the artistic process. My father was a radio journalist so the reel-to-reel tape recorder was a ubiquitous presence growing up. From an early age, I experimented with the tape machine: recording, overdubbing and splicing tape, but electronic music was on my radar as well. My first exposure to an actual synthesizer came when I recorded my first single at the fabled Sound City Studio in Van Nuys, CA. The studio had a custom Neve board, but it also had a Moog modular synthesizer. I asked and they kindly let me experiment with it. Soon, I enrolled at the University of California, San Diego after I discovered they had separate studios for their Moog and Buchla systems. These large modular synthesizers were affordable then only by institutions and rock stars. But these would be soon eclipsed by smaller, cheaper synths in the '70s and early '80s in the same way recording studio technology became accessible in the '90s. Thus, the personal computer and digital audio allowed studio quality production in the home studio; electronic music had become democratized. Handmade music by way of digital technology; this is the music of Eighteen." - Foom.
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.