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NIBLOCK, PHILL - Working Touch

Touch

NIBLOCK, PHILL - Working Touch

"USB in digipak; 11 films, three hours 55 minutes. Films includes: Praised Fan, for bassoon (2016, 17 min) Dafne Vicente-Sandoval, bassoon. Commissioned for the Adelaide Festival, Australia, by Ilan Volkov. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. First Out, for guitar (2015, 22:14) David First, guitar. Completed in November 2015 in Hong Kong. Premiered on Czech Radio in Prague, Czech Republic, Nov. 27 2015. Material recorded at Berklee School of Music, Boston, MA; DreGliss (2015, 19:15) Erik Drescher, glissando flute. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany; V&LSG (2015, 21:20) Lore Lixenberg, voice, Guy De Bievre, lap steel guitar. Material recorded at Johan Vandermaelen's studio in Aaigem, Belgium. Bag (Sept 2014, 21 minutes) David Watson, bagpipe. Material recorded at Berklee School of Music, Boston, MA; A Rooks Pun (2014, 21 min) Ulrich Krieger, soprano saxophone. Material recorded at The California Institute for the Arts, Valencia, CA; Ronet (2014, 21:08) Neil Leonard, tenor saxophone. Material recorded at Berklee School of Music, Boston, MA; Octavio Perc (2014, 20:45) Julien Ottavi, percussion. Material recorded at APO33, Nantes, France; Vlada BC (Nov 7, 2013, 20:00) Elisabeth Smalt, viola d'amore. Material recorded at Marcus Schmickler's P I E T H O P R A X I S studio in Koln, Germany. Euph (Nov 2013, 23:40) Melvyn Poore, two-belled euphonium. Material recorded in the Ensemble Musikfabrik studios in Koln Germany; Unipolar Dance (Oct 2 2013, 25:04) Pauline Kim and Conrad Harris, violins and violas (for two violins and two violas, recorded in stereo). Material recorded in Robert Poss's Trace Elements studio in NYC, NY. The music is eleven minutes longer than the film length, so the last music piece is faded at the end of the film, but is complete in the music files which are on the USB memory stick in 24 bit, 44.1.

"Phill Niblock's music and films contravene the drive of local memory and anticipation integral to much musical and cinematic experience, the sense that each moment is conditioned by what directly preceded it and what came before that, while simultaneously pointing forward to resolutions or further complications, driving toward closure, always toward the sense of an ending in which all threads are tied, all paths satisfactorily closed. This conception of temporality is fundamental especially to pre-20th century Western music, and basic to both conventional narrative cinema and even advanced artists' moving image works... The films, I suggest, require a suspension of expectation, the viewer opening himself/herself up to an experience of delight in color, in scale, rhythm, in the unfamiliar; in the visual arrangement of shaded planes on a flat screen surface that simultaneously depicts figures in recessive space. The films demand an embrace of a continuous presence, with future and past fading into irrelevance as they recede from and come into being. Only the present has import. Conventional cinematic concepts like closure, montage, and development are out of play. It is the joy of the moment based on the hypnotic magic of the recording of motion, of sound, of time -- relatively recent achievements in the long history of human technology." --Grahame Weinbren" - Touch.

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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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