"From David Grubbs: "This recording documents Manuel Mota's and my first public performance as a duo. We had played together previously for a recording session -- a relaxed afternoon at Lisbon's ZDB, where I recall zoning out, guitar in my hands, watching the endless throng of people Sunday-strolling past the plate glass window next to the stage. That deeply pleasurable afternoon session felt like a live accompaniment to a film. This recording also documents, for the both of us, a first indoor collaborative performance since the beginning of the pandemic. It felt familiar -- I do remember how to do these things -- and yet upped in its intensity of focus, and afterward that much more imprinted in memory, even prior to sitting down with this recording. It seemed I could have narrated it after the fact, its various twists and turns, which is not often the case for me with improvised concerts, details of which often vanish -- to return who knows when -- or transform into a series of disconnected impressions. One of the things that I love about Manuel's playing is that as a listener I quickly abandon my search for the logics of continuity that apply to most performers. With Manuel I rarely feel that I anticipate the shape of a given phrase in the time of its unfolding -- as a duo we're definitely not finishing one another's sentences -- nor do I sense that I'm tracking larger structures in the making to serve as signposts for the performance as a whole. The two of us first met more than a decade ago, but throughout many conversations we haven't spent much time speaking analytically about playing, never really compared notes from inside. It's not that we've chosen not to talk about music, or that there's a barrier or unspoken ideology to doing so. There's always something else to talk about. This concert took place in the Biblioteca Municipal of Barreiro, a smaller city to the southeast of Lisbon across the Tejo River estuary. 'Na margem sul' means 'on the south bank,' and is commonly used to refer to the area south of the Tejo. For a first time returning in many months to playing in an indoor setting, the library seemed an especially welcoming location."Personnel: Manuel Mota - electric guitar; David Grubbs - electric guitar. Recorded July 16, 2021 by Leonardo Bindilatti at the Auditório da Biblioteca Municipal, Barreiro, Portugal." - Room40.
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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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