Spirit Of Orr

RUSSELL, BRUCE - Gilded Splinters

After countless false starts and production problems, we are finally\r\nable to offer a specially packaged edition of this long awaited release\r\nby BRUCE RUSSELL. Hand assembled digipak version of this CD (not a CDR).Iin the\r\ncoming months it will be issued in a jewel cased edition. About the\r\nProject: I have been interested in the use of sound recordings to make\r\nmusic for a long time. In the early 1980s one of the things that drew\r\nme to the work of groups such as Cabaret Voltaire, The Fall and This\r\nHeat was their use of recordings as an element in their work, and as a\r\nway of restructuring played pieces once they had been recorded. In my\r\nown work, I started making tape works from day one, buying my first open\r\nreel tape machine in 1983, the same year I bought my first electric\r\nguitar. The first Dead C. album included The Wheel and Mutterline,\r\nboth of which I constructed from tapes [1987]. Later about half of the\r\nthird Handful of Dust album; From a Soundtrack to the Anabase of\r\nSt.John Perse, was constructed in the studio [1995]. When I began to\r\nrecord under my own name, one of the things I wanted to focus on was\r\ntape work, as opposed to documentation recordings of live\r\nimprovisations, which most of my other work has been. My first solo\r\nsingle was produced by the simple expedient of halving the tape speed,\r\nthereby doubling the beauty of the original ultra-lo-fi recording. A\r\ngreat boost to my resolve in this area was given by Ralf Wehowskys\r\ninvitation in 1996 to participate in what became the Tulpas project.\r\nHis faith in me gave me confidence to consider my work as a form of\r\ncomposition, and has led directly to this album. In this regard the\r\nsupport of Matthew Leonard has also been very helpful. My plan was to\r\ncompile examples of my tape work over the last few years, as a way of\r\nshowing the different approaches and developing methodologies that I\r\nhave employed. Originally I envisaged a double CD, but this has proven\r\nto be both too expensive and ultimately too hubristic. Making these\r\nrecordings has been a learning process, but a very satisfying one. My\r\nworking practices have often been deliberately primitive and brutal, and\r\nI make no apology for that. It is the ideas and their expression that\r\nshould be of interest, not merely questions of technique. It remains\r\nonly to note the inspiring example of many more illustrious names in\r\nthis genuinely Twentieth Century art form. I will not compile a list of\r\nnames, as these lists have a way of becoming almost too famous, but\r\nnational pride compels me to mention the late Douglas Lilburn. He\r\nfounded, in 1966 at Victoria University of Wellington, the Southern\r\nHemispheres first Electronic Music Studio. Recently his magnificent\r\nanalogue electronic works have entered the digital domain in a long\r\noverdue re-edition. Hurrah! - Bruce Russell, Lyttelton 2004.

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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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