Canto Ecuménico (1979) The choice of a religious theme is a pretext for an approximate comparison of authentic traditional music from different cultural areas in many different styles. The similarities and differences are presented in the form of collages and quotations, connected and superimposed on the sequences of sonorous material, vocal and instrumental, drwan exclusively from the musicians. The most important musical material in this work is drawn from a great variety of countries. Some parts are fragments of Australian Aboriginal rites, joined with rain spirits and mixed with sonorous sounds taken from a funeral ceremony of the ethnic Somba from the North of Benim. Included also, are Buddhist ceremonies from Tibet and Japan, orthodox Christian songs from Armenia and Syria, Islamic rites from Morocco, Syria and Yugoslavia. The jews of Morocco, Yemen and Tunisia are also quoted. From a formal point of view, the grand lines of the composition come together in a single block, in the middle of which are evolved distinct sections. Litania (1972) This work was composed while studying with the Groupe de Recherches Musicales, formerly ORTF in Paris. The improvised instrument parts are controlled in the process of the montage. The origin of the principal sound consists of sheets of iron, and metal wires. They are joined at their respective extremities. To produce sounds they are plucked, struck or rubbed, obtaining an extensive range and variety of vibrations. On the other side, the technique is to catch and put in relief a grand number of profiles of variations, ressonances, and multiple details and structures of sound. Other objects to make sounds, elaborated for manipulation, are inserted into the discourse, upon which there are opposite characters, regular and punctual, that stop and start themselves under a repetitive form. Homo Sapiens (1972) The human voice, used as the symbol of earth and creation, constitutes the earth of this work. It is the phonetic frame in the context which evolves the sorrow of the movement, and for the elaboration and the fusion of various elements of sound. Homo Sapiens is a revision of the first part of the ballet Nam Ban, composed in 1970, commissioned by the Portuguese Secretariat for the Exhibition of Osaka. The present version was composed whilst studying with the Groupe de Recherches Musicales in Paris. " - Grama.
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.