"Simon Scott (Slowdive) debuts his Index alias with a visceral new sound that absorbs and transmutes political, ecological, and psychic dread into a caustic, dissonant style of noise sculpture for iDEAL Recordings. Recorded 2016-2019 in Los Angeles, Kainos sees veteran UK composer, field recordist, drummer, and mastering engineer Scott explore ongoing concerns of his oeuvre via a prism of formative musical influences from the post-industrial music of Coil, Throbbing Gristle, and early Black Sabbath, plus non-musical and conceptual inspiration from the turmoil of Brexit -- including recordings of the Houses of Parliament -- through to the radical feminist scientific writing of Donna Haraway, and the conceptual vigor of Luigi Russolo's Futurist manifesto, The Art of Noises. The album's title Kainos, from the ancient Greek meaning "new" or "fresh", characterizes Scott's efforts to glean something practical from this world's current state of chaos. When taken in context of its use in Donna Haraway's 2016 book, Staying with the Trouble: Making kin in the Chthulucene, and its central tenet that "our task is to make trouble, to stir up potent response to devastating events on a damaged earth", Scott's enacts a tectonic shift from bucolic sonic signifiers to signposts of the post-industrial world that could hardly be more apt at a time when electronic and ambient music are prized for their safe and sterile wallpaper qualities, rather than a potential to evoke and invoke more powerful feelings. Based around modular synth-mangled live stream recordings of the Houses of Parliament during the prelude to Brexit, Scott's compositions take these fractious debates as building blocks for the album's caustic improvisations and compositions, ranging from convulsive clangor to pulsating tracts of strobing distortion and gutted, lurching post-dubstep rhythms riddled with the voice of Slowdive's Rachel Goswell, before eventually resolving with a more spacious, textured sense of relief by the album's close. His results are chaotic and noisily abrasive in a way that holds up a mirror to the modern world, reflecting a putative state of unrest and agitation. In concept, this is nothing new for Scott, as previous release have variously explored ideas of climate change in Below Sea Level (2012) and FloodLines (2016, TONE 053CD), but the product this time is far more pointed, even aggressive, in its noisy insistence. Photography by Simon Scott. Mastered and cut at Dubplates & Mastering, Berlin. Edition of 300." - Ideal Recordings .
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.