"Simon Scott on "Red Square": "Field recordings captured during a day under Moscow's Red Square in the underground metro in 2015. It has a narrative of motion as my microphones move with me through a vast sounding environment. The space reveals the aural diversity of the people moving beneath the Russian city of Moscow, the complex acoustics, and complex rhythms mixed together in a subterranean space. These communitive sonic events transformed my perception of space and time as reverberant boundaries led my ear into unknown acoustic destinations." Simon Scott on "Murmurations": "Recorded in March 2018 at RSPB Strumpshaw Fen in, Norfolk, UK using DPA 4061 microphones. I was showing Australian sound artist Lawrence English around the Fens of East Anglia, when he requested we head to Buckenham to find a flock of crows roosting. I recorded the spectacular murmurations of thousands of crows, rooks, and jackdaws, as the spring sun slowly set at dusk, and deer ran across the marshes. The field recordings are accompanied by a gradually shifting modular synth tone, that musically represents the slow change colors, until the light fell off the horizon. Photography and design by Jon Wozencroft. Vinyl mastered at SPS Mastering; cut by Jason @ Transition. Edition of 300.
Simon Scott is a British composer, mastering engineer, and sound artist from The Fens in Cambridgeshire, England. His albums: Soundings (TO 112CD, 2019), FloodLines (TONE 053CD, 2016), Between (12k, 2012), Insomni (ASH 11-4CD, 2015), and Below Sea Level (12k/TouchLine, 2012). His work explores creative methodologies of field recording, the process of active listening, the implications of recording the natural world using technology and the manipulation of natural sounds used for musical composition. He has recently collaborated with artists Taylor Deupree and Marcus Fischer (Between), Fennesz, Claire M Singer, Philip Jeck, James Blackshaw, Rafael Anton Irisarri (Orcas, The Sight Below), Nils Frahm, and many more. He is also in UK group Slowdive." - Touch .
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.