Vain marks the prodigal return of Venezuelan artist Carlos Giffoni to the avant-electronic music scene he was instrumental in shaping with the seminal, hybridiszng No Fun Fest and No Fun Productions label, which was home to debut releases by Oneohtrix Point Never and Noveller, and classics from Haswell and Prurient during the late 00s to early part of the 10s. Carloss first new release in six years, Vain was drawn from hundreds of hours of improvisations made at Carloss Malibu studio, the final LP describes a tumultuous narrative in affective abstract swells and pulsating rhythms that trigger curious sensations and emotions ever familiar to his variegated, extreme, yet essentially organic output. Despite not releasing anything for the past six years, Carlos still sounds like he lives and breathes electronic music. Where those noise" artists who originally played at No Fun Fest and released on his label have arguably carved out major career paths from myriad mutated genres, Carloss music still feels captivatingly ancient yet advanced and uncannily hypnotic. In a cascade of minimalist Arps and cloud dynamic harmonies, the albums story starts in the vortex of "Vains Face" and sweeps through the granular flux of "The Desert" to a staggering piece of noise techno dissonance in "Erase The World", which calves away into the curled plunge of "Hands" and the anxious needling of "We Pay The Price". At the mid-way point it turns lusher with the pulsing and coruscating kosmische tang of "Stop Breathing", leading to the metric complexities woven into "Faith And Pain" and the heightened high-register sensitivities of "I Can Change", whose shatterproof hyaline steeples ultimately deliquesce into the shimmering beauty of "Sun Rain". With hazy resolution and ambiguity of effect, the record works its magick in memorable style. Like the best abstract sonics of Peter Rehberg or Keith Fullerton Whitman, an intuitively applied formula of geometry, rhythm, tone, and timbre add up to inexorable effect, rendering the closest possible connection between the machines and the artists pathos. For synesthetes and attuned listeners, the effect is likely to conceive new colors on the minds eye and move them to finer states of emotive response. In others words: its a seriously good listen. Cover painting by Wiley Wallace. Master by Al Carlson; Cut at Dubplates & Mastering, Berlin. Edition of 500." - Ideal.

  • Sale
  • Regular price $21.00

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.
I understand these terms



Sold Out