GABER, HARLEY - I Saw My Mother Ascending Mount Fuji

""Just over one hour and five minutes, Harley Gaber's I Saw My Mother Ascending Mount Fuji (2009, for tape and processed violin and alto flute) offers proof of music's power to transport (the listener) in ways generally associated with film and literature. Fuji's Kaidan-like atmosphere -- the Japanese world of ghosts and spirits -- unfolds slowly in its process of uncovering and revealing a deeper and different spirit world in what might be termed a spiritual journey: The ascension and transformation of the human spirit into pure energy expressed in the form of both musical and non-musical sounds. Throughout the 1960s and 1970s, Gaber found his own unique compositional language that combined the intensity and extra-musical framing of certain post-war, European Modernism with sparser, more obviously spiritual evocations of Eastern aesthetics, as made manifest in such diverse expressions as Haiku poetry, Sumi-e painting, and even martial arts forms. In 1978, he moved from New York City to La Jolla, CA and stopped making music. Following a two-year hiatus from the arts, he commenced on what was to become a twenty year period of creating an immense body of work in the plastic arts and photography. Much of the work done during that period was informed by his musical instincts and focused, as did much of his later music, on the unity and interrelatedness of things. His predilection for collage work in general reflects and confirms that focus. The years of making art culminated with his largest artistic and personal undertaking in the construction of Die Plage, a photo-collage work of some 5,500 (20 x16 in.) canvases detailing German history in the first half of the 20th Century. With the completion of Die Plage in the early part of 2002, Gaber turned to writing about the project and to filmmaking, first using images from Die Plage for his films and eventually moving on to other subjects. His return to music began with the creation of soundtracks for all his films. Initially, the soundtracks were (again) in a collaged form using, for the most part, music of others, but also incorporating his own music from old recordings and taped performances. His real return to music composition came in 2008 with his original soundtrack for Mein Kamps: Akt V (filmed in Berlin and named after the Berlin bakery chain Kamps). That original soundtrack (existing apart from the film as a strictly musical composition is titled 'Berliner Strassen Gesang') demonstrates a richer, more complex approach to crafting and shaping sound made possible by the use of the computer in composing the work along with the twenty years of rethinking his artistic outlook in general, and his musical thinking in particular. And now, with I Saw My Mother Ascending Mount Fuji, Gaber has returned to music composition. This new work is at once a processing of untimely deaths in his family and a reconsideration of earlier compositions -- Michi for solo violin (1972) and Chimyaku for solo alto flute -- which, in their processed and altered form and in conjunction with an entirely new tape part, project a new level of insight into the essential spiritual nature of sound and its physicality; '...both transcendentally abstract and distinctly human,' as the composer puts it. The ascension of Mount Fuji is a meditative journey, a spiritual odyssey perhaps, as real as it is imagined or metaphoric. The composer, however, leaves those distinctions for each listener to decide for his or herself."" - Innova.
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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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