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Cacophonic

HENRY, PIERRE - Maléfices

_¢‚Ǩ_ìCacophonic presents Mal_ɬ©fices, an outstanding film score by Pierre Henry, often overlooked in lists of the composers work. The score is a dream record for fans of early electronics, female vocal manipulation, and horror soundtracks. Widely recognized as one of the original sonic architects of the movement known as musique concr_ɬ®te (having joined Pierre Schaeffers initiative as early as 1949), Pierre Henry was arguably the first musician to entertain the notion of this defiant musical revolution coexisting with traditional and popular music. Initially using the media of modern dance and spoken word as a platform to contextualize his tape-music mutations (notably in unison with Maurice Bejart), Henrys fusion of academic with thematic ideas led to the birth of electronic sound design for film and theatre, exemplified most prevalently in the macabre. His score for Henri Decoins 1962 film Mal_ɬ©fices (Where the Truth Lies) (starring Juliette Gr_ɬ©co) is the missing link between his earliest avant-garde recordings and his later celebrated pop experiments with Michel Colombier and Spooky Tooth. It rivals such cinematic sound as Daphne Orams work for Jack Claytons 1961 horror film The Innocents, and features Henry at what is perhaps his most melodic, fragile, and enchanting (especially for this unforgiving, formative era in his career). Layering vocal tape loops and gossamer feminine voice treatments with plucked strings, white noise wind, and brooding, industrial treated piano textures, Henry magnifies the films intoxicated, hallucinatory narrative. This concise set of complete themes is presented here, fully remastered for the first time, alongside rare excerpts from two of the composers very earliest and least obtainable forays into theatrical sound design: instrumental parts of Henrys first stereo reconstruction of Maurice Bejarts 1961 ballet Orph_ɬ©e, and his seldom-heard concr_ɬ®te interludes from Darius Milhaud and Max G_ɬ©rards opera Mariage de la Feuille et du Clich_ɬ© (1958)._¢‚Ǩ¬ù - Cacophonic.

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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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