Recorded in Oakland and San Francisco last year, SPF is Adam Keith (Cube, Mansion) Will Isengole, and Dave Easlick (Jackie O Motherfucker). There is something both listless and challenging about Paul's McCartney, something of our time, and something that, in that respect, demands to be taken seriously, and made sense of. The music which follows is capricious but interesting, its themes transitory, and its coherence provided primarily by the percussion. Nevertheless, its melodies, when they appear, are disarming and lovely. In only the first few minutes of the recording I hear: a siren, a jammed printer, church bells, the beeping of an heart rate monitor (a profoundly sad sound, if one is in possession of the right experiences), and finally what sounds to me like an homage to the tension producing minor key synth sounds that constituted a certain staple of horror film scores in the 1980s. Excepting the last as nominally musical, there is a tendency here to aestheticize the non-musical. This is not unique to the present case, of course. For some genres, e.g. industrial, it is the very reason for being. However, in that case the transfiguration of non-musical elements into musical ones is obvious; in this case, the process is less complete, and so, it seems to me, the final product more obscure. - Digital Regress.
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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