"The author Max Goldt is well known to the general public. Not so the musician Max Goldt, who came across the guitarist and songwriter Gerd Pasemann through a classified ad in 1978. Their joint collaboration in the 1980s resulted in the musically contrasting project Foyer des Arts: "Melancholic, sometimes resigned tracks alternated as a matter of course with comic and surreal ones,"wrote Max Goldt in the booklet to his CD box set Draußen die herrliche Sonne. In 1986, after a two-year delay, Foyer des Arts released their sophomore album Die Unfähigkeit zu Frühstücken. BBC Radio DJ John Peel liked Foyer des Arts so much that he not only played all the songs from the album Die Unfähigkeit zu Frühstücken several times on his show. Gerd Pasemann and Max Goldt were ultimately invited to record a (John) Peel Session, a rare and distinguished honor for a German-speaking band. The Berlin duo made their way to London in October 1986, where they were joined by three members of The Higsons, an energetic combo with plenty of experience as session musicians. Indeed, they only needed one rehearsal to learn the four songs that Foyer des Arts brought with them, two from the aforementioned album and two brand new tunes: "Könnten Bienen Fliegen"and "Frauen In Frieden Und Freiheit". Recording took place the following afternoon in the legendary Maida Vale Studio 4, the regular home for the Peel Sessions. "The musicians were excellent and the atmosphere was really relaxed,"Max Goldt recalls, "and afterwards we met John Peel in his favorite pub, The Vine Bar."In the year 2000 Goldt asked the BBC what had happened to the session tapes, only to learn that they had probably been wiped. This was not a huge surprise, as the BBC archives were notoriously unreliable. Entire Dusty Springfield shows disappeared, apparently deleted. Twenty years later, the Cologne-based sound engineer Tom Morgenstern, with the help of a colleague from the BBC, managed to unearth the lost tapes. And here they are, 35 years on, as fresh as the day they were made." - Tapete Records.
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.