fusetron

recent arrivals/ news/ everything/ list of labels/ list of artists/ specials/ second-hand/ contact


by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label  

Artist: BUTCHER, JOHN
Title: Resonant Spaces
Format: LP
Label: Blume
Country: Italy
Price: $25.00
"Blume present the first vinyl issue of John Butchers Resonant Spaces, originally released on CD in 2008. More than a half century into its development, free improvisation remains nearly impossible to define. Of course there are concrete definitions, canons, and well-trod paths -- familiar idioms, structures, relationships, textures, and tones, but by its very nature -- something free, when practiced with faith, it is elusive, constantly shifting, and reforming in the hands of those who call the art form their own. Of the improvisers emerging from the remarkable European contexts over the last four decades, few demand the respect, or have plumbed the depths of the English saxophonist John Butcher. An entirely singular voice, since appearing on the scene during the late 1970s and early 80s, Butcher has continuously defied and shattered standing presumptions of his form. Exemplifying this, there may be no better example than a series of solo performances recorded on a lonely tour of remote areas of Scotland with Akio Susuki during 2006. Entitled Resonant Spaces, the album stands as one of his most ambitious, radical, and revelatory bodies of work. Across the 80s and 90s, he performed with the lions share of Britains leading lights: Derek Bailey, Phil Minton, John Russell, Phil Durrant, Steve Beresford, and countless others. It was during this period that he began to develop the trajectories for which he is often most recognized: solo performances, capitalizing on resonance, overtone, and space. Resonant Spaces is the fruit born of decades of work; a rare product of artistry, seeming to have simply appeared -- an organic disembodied form. Astounding on nearly every count -- miles from the social unrest from which this idiom was born -- an uncharted meditative realm -- a towering body of creativity and tone. Recorded in the wilds of Scotland against Neolithic standing stones, within an emptied oil storage tank, and caves, like all free improvisations, Resonant Spaces is a conversation, but one unlike others before. Where musicians working in ensembles and groups, shift, adapt, and respond to those with whom they share the stage, Butchers conversation is with the unexpected responses of a given space and the returned transmogrified body of his creative self. A shimmering world of resonance, ambience, structure, and craft. Comes in full-color cover with printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Blue-colored vinyl; Edition of 250." - Blume.

Artist: CUSACK, PETER
Title: After Being In Holland For Two Years
Format: LP
Label: Blume
Country: Italy
Price: $23.00
“Peter Cusacks debut long-player from 1977 is a peek into one of the most varied and experimental musical scrapbooks one is likely to hear. Infused with natural sounds and a healthy dose of musical abstraction, this record defies categorization. A solo album of guitar and environmental sounds; a montage filled with montages where references to and resonances of varied, often disparate soundworlds spill in every direction. The music manages to be both blatant and covert at the same time; its clearly, acutely disjointed and polyvocal yet strangely out of focus in regard to intent. But thats the thing about montages: by having nothing lead causally, conventionally to the next, a radical, imaginary simultaneity occurs; one continues to experience the presence of each previous section (even though theyre no longer audible) even as a new one abruptly presents itself -- all this without the actual physical interference that happens with visual collage. After Being In Holland For Two Years is presented here for the first time since its initial pressing as a green LP in a Nagaoka anti-static record sleeve contained within a full-color sleeve with obi strip and fold-up tri-panel inner sleeve. This edition includes extensive new liner notes by Toronto-based composer-performer Martin Arnold -- writing that complements the utterly singular notes Cusack provided for the initial release, which are reproduced here as well. Peter Cusack is an improvising guitarist, field recording artist, and occasional whistler. He founded Bead Records in 1974 to release the only LP by A Touch Of The Sun, his short-lived duo with clarinetist Simon Mayo, but the label went on to become a collectively run initiative that produced more than 30 albums of improvised music. The following year he was among those who founded both the journal Musics and the London Musicians Collective, both of which were important focal points for Londons nascent improvising community. Cusack was a member of the eclectic freeform group Alterations with Steve Beresford, Terry Day, and David Toop, as well as their irreverent seaside covers spin-off The Promenaders. He formed significant musical relationships with instrument builder Max Eastley, multi-wind instrumentalist Clive Bell, vocalist Vivienne Corringham, and sampling trombone player and composer Nicholas Collins.” - Blume.

Artist: DE OLIVEIRA, JOCY
Title: Estorias Para Voz, Instrumentos Acusticos e Eletronicos
Format: LP
Label: Blume
Country: Italy
Price: $25.00
Limited 2017 repress. "Blume present the first vinyl reissue of Jocy De Oliveiras legendary debut Estorias Para Voz, Instrumentos Acusticos e Eletronicos, reissued for the first times since its original release in 1981. Defined by a body of singular music spanning seven decades, within the histories and continuing legacies of avant-garde practice, she is without equivalent. Her debut album Estórias Para Voz, Instrumentos Acústicos e Eletrônicos resonates through a shimmering body of organized sound, unveiling truths lingering in the shadows, the sins suffered by the Latin American avant-garde, with the actualities of its astounding heights. Oliveira began her career as a concert pianist. She left Brazil at young age to study in America and Europe, before being recruited by major orchestras across both continents, working under Stravinsky, and having pieces written for her and premiering of works by Berio, Xenakis, Santoro, Cage, and Manuel Enriquez. During the early 1960s, Oliveira shifted her efforts toward composition. She embarked on a process of folding organized sounds across nearly every context it could inhabit, blurring the lines between performance and composition, and incorporating diverse media well beyond the world of sound. In 1961, within a collaborative theater work written with Luciano Berio, Berio Apague Meu Spot Light, she instigated the first performance of electronic music staged in Brazil. Released in 1981, during the last years of her countrys military dictatorship, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos was met by controversy before quickly sinking from view, heard by almost no one beyond Brazils borders. Among the most astounding realizations of electroacoustic process ever recorded, it is a series of sonic stories for voice, and acoustic and electronic instruments: prepared piano, violin, percussion, synthesizers, electric celesta, etc. The albums singularity, culture, humanity, and introspection cannot be displaced; like its composer, Estórias Para Voz, Instrumentos Acústicos e Eletrônicos is Brazilian. Its draws on a diverse range of the countrys music and percussion traditions, as well as Indian raga structures, and Japanese Shōmyō singing, inspired in part by the sounds of immigrant communities within São Paulo, the city where Oliveira grew up. A landmark classic from the 70s Brazilian electronic music scene. To quote Keith Fullerton Whitman, this is the "lost Tropicalia/psych/free-vocal/ring-modulator freakout/jam hybrid that youve only dreamt about!" Comes in a full-color cover with a printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes original insert that functions as Obi; Red-colored vinyl." - Blume.

Artist: DURAND, WERNER
Title: Hemispheres
Format: LP
Label: Blume
Country: Italy
Price: $23.00
"Going back to his early musical inspirations in the early 70s, Werner Durand was fascinated with the multiple saxophone sounds coming from Terry Rileys "Poppy Nogood" and "Happy Ending," Dickie Landrys "Fifteen Saxophones" and Ariel Kalmas "Reternelle." His participation in the Parisian saxophone ensemble Urban Sax in 1976/1977 became a starting point for his own musical endeavors. The two saxophone pieces presented here were composed and recorded roughly 10 years apart and document his move from free microtonality towards just intonation, to which he was turned onto as a member of Arnold Dreyblatt & the Orchestra of Excited Strings from 1990 to 1997. The two hemispheres represent the two parts of the brain, associated with the intuitive (right) and rational (left) part. "Right Hemisphere" for soprano sax was composed in 1990 for a festival in Berlin, celebrating the 150th anniversary of the invention of the saxophone. The main idea for this piece was to make one forget what instrument one is listening to as well as to feature various unorthodox techniques like loose embouchure, false fingerings, or circular breathing, and a free microtonality. It was inspired by certain composers of microtonal music like Giacinto Scelsi, Phill Niblock, Lois V. Vierk, and Mary Jane Leach. The original version of "Left Hemisphere" was developed between 1995 and 2000. Dreaming of a certain ratio and intervals during a summer holiday in England in 1995, the piece slowly evolved over the next years. This version was recorded in 2000. The piece uses just intervals derived from the third and seventh harmonics played over a sax drone. All music composed, performed, recorded, and mixed by Werner Durand." - Blume.

Artist: FRIEDL/DIRK DRESSELHAUS, REINHOLD
Title: Real Time
Format: 3 CD
Label: Blume
Country: Italy
Price: $31.00
"Reinhold Friedl and Dirk Dresselhaus come from really different backgrounds: Dirk Dresselhaus has released several experimental-electronic freak-pop recordings as Schneider TM since the late 90s. He started making music in the late 80s and developed his personal approach to sound and structure as an autodidact, starting with guitar effect devices and four-track home-recording. Reinhold Friedl studied mathematics and music, won scholarships and international commissions, and built up the ensemble Zeitkratzer, disrespecting all musical frontiers. So its not astonishing that both met for the first time when Zeitkratzer performed Lou Reeds Metal Machine Music: Dirk Dresselhaus was enthusiastic about this unrestrained contemporary music group which devoted itself to the instrumentation of purely tuned guitar feedback. Dresselhaus and Friedl started their collaboration, which happened over the years in studios only, to address the question of what happens if you put those strange inside-piano sounds -- another domain where Friedl has set standards -- or those powerful, huge piano-drones into Schneider TMs electronic devices, modulating them with an incredibly complex feedback system and recursive effect-settings. Sometimes violent, sometimes subtle, mostly large-scale sound-fields that concentrate on only one sound or noise, developing an overwhelming impact. Reinhold Friedl plays pianoforte, harmonics, horse hair, metal sheet, fishing line, metal tube, inside-piano, extended piano; Dirk Dresselhaus plays oscillator, spring reverb, isolator, memory man, digital delay, mixing desk, lfo, noise generator, vibrator/time machine, pitch shifter, ring modulator." - Blume.

Artist: LEACH, MARY JANE
Title: Pipe Dreams
Format: LP
Label: Blume
Country: Italy
Price: $25.00
"Milan based imprint Blume offer two incredible archival works from the 1980s American composer Mary Jane Leach, never before released. Mary Jane Leach is a definitive model of the American avant-garde and experimental composer -- creatively brilliant, tragically underrecognized, yet always there, rigorously plumbing the depths, issuing challenges, venturing toward the unknown. Leachs creative practice began at the crossroads of the modern and post-modern -- with the death of the American dream, its hegemonic point of view, and with the irreconcilable reductive legacies of their predecessors, the minimalists. Leach pursued the physicality of sound and acoustic phenomena -- investigating their properties, and interactions with space. Despite being incredibly active, during the 1970s and 80s Leach failed to offer a single commercial release. She instead instigated a singular body of work which is conceptually centered around live acoustic phenomena and performance. In effect, there are two dynamic components of her work -- the notes, structures, and relationships which make up a composition, and a secondary series of difference, combination, and interference tones, generated by a works relationship to the space in which it is conceived and performed. Pipe Dreams represents a turning of the tide -- a means through which to offer the composer the attention she has always righty deserved. Comprised of two incredible works -- "4BC" and "Pipe Dreams" -- this LP is a brilliant entry point into Mary Jane Leachs sprawling body of composition and investigatory work. Like all of her efforts, they are temporal snapshots, incapable of being fully reproduced. They are singular and unique. "4BC" is a work for four bass clarinets, recorded during 1984. It is part of Leachs large body of compositions which employs long tones (drone) within a constrained tonal palette. "Pipe Dreams", written for, and recorded on, the organ in St. Peters in Köln, Germany, during 1989, was realized by, and as a direct response to, the unique environment for which it was made. St. Peters organ has two sets of pipes at opposite ends of the church, each having separate sounds and stops that can generate microtonal intervals. The work is a structured improvisation, exploring antiphony and the specific sounds of that organ, extra-musical as well as musical. These pieces help illuminate Leach as one of the most important voices in her generation." - Blume.
SOLD OUT

Artist: NAUMAN, BRUCE
Title: Soundtrack From First Violin Film
Format: LP
Label: Blume
Country: Italy
Price: $25.00
"Blume present a reissue of Bruce Naumans Soundtrack From First Violin Film, originally released in 1969. Since the mid-1960s, Nauman has laid the groundwork -- in thought, context, practice, and materiality -- for nearly every fine-artist that has followed in his wake. Even those who do not directly draw on the ground he gained, must contended with a world in his image. Initially issued by Tanglewood Press in 1969 -- a component of the art multiples edition 7 Objects/69 (also including David Bradshaw, Eva Hesse, Stephen Kaltenbach, Alan Saret, Richard Serra, and Keith Sonnier) -- Soundtrack From First Violin Film is a crucial element in Naumans diverse the canon of contributions; It bridges the emerging practices of performance, video, and sound. Blumes release -- along with the Die Schachtels 2016 reissue (DSART 013LP) -- marks the first time this seminal work has been available to a broader audience, making it a historic event. Soundtrack From First Violin Film, while resembling music, is one of the earliest gestures of sound art as it has come to be understood. It falls within Naumans larger body of solitary actions and performances. In 1968, the artist moved briefly to New York, occupying Jasper Johnss then vacant studio in the Hamptons, beginning to build the body of work for his first solo show at Leo Castelli Gallery, documenting them in what became the very first works of video art. Within the larger body of effort, emerged a series of works featuring him playing the violin. It is from this world, that the LP Soundtrack From First Violin Film, with its disembodied sounds, grew. Naumans violin works, as they exist in the world, are only distant cousins of performance and compositions. They are objects, doubling the signifiers of music and the body back upon themselves. Rather seeking entirely new and liberated sonic realms, they employ conceptual practice, instrument, and rhythm to strike direct confrontation. They could be understood as a conceptual inversion of recordings by John Cage or of musique concrète. Rather than seeking to utilize non-instrumental sources to create music, Nauman used instrumental sounds and references to make something which is not music at all, highlighting the dimensional possibilities of meaning, and the elasticity of language. Comes in full-color cover with printed inner sleeve housing a Nagaoka anti-static record sleeve; Includes an original insert that functions as Obi; Yellow-colored vinyl; Edition of 300." - Blume.

Artist: NOVAGA, ALESSANDRA
Title: Movimenti Lunari
Format: LP
Label: Blume
Country: Italy
Price: $23.00
“Alessandra Novaga delivers a stunning LP, a compelling investigation of her resonantly spacious guitar playing that dismantles the instruments unique properties through relentlessness. Movimenti Lunari speaks of the relentlessness of natural forces. Something that seems to have no development, but instead advances inexorably. A form developing out of a memory progressively coming into focus; never still, constantly pulsating and vibrating with new elements. Beyond any rational, analytic thought, a sound that belongs to remembrance. Sandro Mussidas "In Memoria" questions this relationship between movement and stillness in the form of a piece of music. The piece is a meditation on memory, technology, and sound; the repeating theme recalls bells chiming over and over, drawn out into lines as long as the horizon. Francesco Gagliardis "Untitled, January" speaks of a sound evoked by an image. A photograph. A foggy landscape seen from a train. Accompanied by a single instruction: "A drone, or drones. Any duration." Simultaneously timely and timeless, Movimenti Lunari has the feel of artistic invention, a canvas of delicacy melding into intense streams of sound. Includes obi strip.” - Blume.

Artist: WEISSER, STEFAN
Title: Wordworks (1975-1982)
Format: 7x Cassette Box
Label: Blume
Country: Italy
Price: $89.00
"The Milan based imprint Blume present an incredible seven cassette box set comprised of archival recordings made by Stefan Weisser (ZEV) during one his most fruitful periods, stretching between the mid-1970s to the early 80s. A marvel in sonic creativity, these works offer a long overdue insight into the foundations of late 20th century sound-art, poetics, punk, industrial music, and noise. Wordworks is the first survey of Weissers output from the 70s and early 80s to appear on an analog format. The set begins with "Book Of Love Being Written As They Touched" (1975), an hour-long work recorded in 1975 for eight female voices, built from the 40,320 spoken permutations of its title. A definitive work of conceptual art, it premiered as part of the Second Generation Show at the Museum of Conceptual Art in San Francisco. Recorded two months later, the second cassette presents "Dark Pastimes Duet" (1975), a recording made with Roberta Friedman on tape accompaniment, at University Of California, Santa Barbara. Brilliant on every count, it is a reimagining of the decaying potentials of conversation, at a moment witnessing the utopian ideals of modernism coming to an end. The third work "Instill" (1976), is an effort for four voices and tape replay, and encounters this sense of loss further progressed. Its contributors utterances are reduced to inaudible mumbling, whispers, and hiss, pushing toward abstraction and slippery rhythmic pulse. "So Called" and "As Is As", both from 1976, push these tactile themes even further, while "Spatial Poetics", a live mix for taped voices presented at The First West Coast International Festival of Sound Poetry in San Francisco during 1977, increasingly reveals direct intervention and the folding of environmental sound. "Oomoonoon: Dancing On The Brink Of The Word" (1978) started its life as a three-hour tape installation. It begins with three three-minute loops of three voices -- their ambience recorded, looped, and then replaced every 45 minutes, collectively rising to a total progressive accumulation of nine, to 15, to 27, and then 51 voices. Profoundly ambitious in assembly and content, the set present some of the 20th centurys most radical heights in sound poetry and art. A crucial look at a largely unrecognized body of work, offering Stefan Weisser/ZEV the attention, appraisal, and place in history he has always deserved. All seven tapes come in wooden box; Includes several zines and a poster; Edition of 80 (no repress)." - Blume.
SOLD OUT

by artist / 0-9    A    B    C    D    E    F    G    H    I    J    K    L    M    N    O    P    Q    R    S    T    U    V    W    X    Y    Z    V/A \   by label