XENAKIS, IANNIS - Early Works: Diamorphoses / Concret PH / Orient Occident / Bohor

"Iannis Xenakis's early electroacoustic works define already the compositional space he is using later in his mature, almost one-hour long works like Persepolis or La Légende d'Er. After arriving in Paris as a Greek refuge in 1947, Xenakis quickly found a work as construction engineer with the architect Le Corbusier. He tried in vain for several years to become a member of the Groupe De Musique Concrète (GRM) and thus to gain access to the electroacoustic studios at the French radio. Pierre Schaeffer accepted him only when not only Messiaen pushed for it, but also the conductor Hermann Scherchen lobbied for him. Diamorphoses was his first attempt at composing musique concrète and was to remain his only one. He carefully recorded small sounds and worked on them systematically in weeks of tape-snapping. But he also combined sound material that presumably came from the GRM's Sonothèque, and here his fable for powerful sound masses was already apparent. Concret Ph originally was a sound installation: as Le Corbusier's assistant, he had been allowed to completely design the architecture of the pavilion for the Brussels World's Fair 1958, but his music was only to serve as a break filler between the repetitions of the main attraction: the Poème électronique by Edgar Varèse with projections by Le Corbusier. Under the title Interlude Sonore, Xenakis created a tape consisting of the most minimal tape snippets sticked together and got something that sounded almost like the tickling of glowing coal. Xenakis anticipated granular synthesis in analog tape form: the combination of little sound grains giving birth to a new sound. Orient Occident is an extract from music for a documentary film about the encounter of Eastern and Western cultures, shortened by about half. Xenakis had also used non-Western music for it, most of which is absent from the electroacoustic piece -- and yet even here one finds a reference to his many adaptations of ethnological music. Bohor caused -- as Michel Chion put it -- the "greatest scandal of electroacoustic music" -- on the occasion of its performance 1968 at the GRM in Paris. Curiously, hardly anyone noticed the piece when it was premiered in 1962. Xenakis simultaneously played four stereo tapes at extreme volume on eight speakers positioned around the audience, creating an ecstatic sound experience: close-ups of Persian jewelry are used, and large thunderbolts and stringed instruments like those built at the GRM by the Baschet brothers at the time the piece was written." - Karlrecords .
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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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