Following up on their eponymous debut LP, this Western Mass quintet has released a live album that expands their musical palette, while retaining the essential magic of their sound. Bill Meyer described Weeping Bong Band's music as a collision between Popol Vuh's Florian Fricke and Hash Jar Tempo (itself a collab between Bardo Pond and Roy Montgomery), and the same mix of drifty Germanic midnights and Bay Area Ballroom sizzle is present on Weeping Bong's sophomore slab. Recorded at the 1794 Meeting House in New Salem, MA -- the site of many finely smoked concert events -- all five key members are on hand (which is not always the case). Beverley Ketch, PG Six, Anthony Pasquarosa, Clark Griffin, and Wednesday Knudsen are all present and up to their necks in the sonic swirl. A big new factor here is the piano, played in a style that makes me think of Grace Slick's keyboard work on Blows Against the Empire (1970). This is appropriate given that Weeping Bong Band is a similar sort of multi-band-sourced collaboration as that classic 1970 Paul Kantner side. And since the same folks played on both Kantner's Empire and Crosby's If I Could Only Remember My Name (1971), is it a coincidence that one track on this album is called 'Remembering My Name'? You be the judge. Amidst the clouds of quiet presence, strings are plucked or bent, pulses emerge from the darkness, and your brain flows like butter. Just turn out the lights and do it. You will be so happy you did. - Byron Coley, 2019. Edition of 500.
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.