SPECTRALARROWSSYDNEYLPCOVER

 

Marco Fusinato ‘SPECTRAL ARROWS: Sydney’ (above: back/front cover)
Planam, P031, LP, 2014

 

Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end of the working day, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.

 

Spectral Arrows: Sydney was recorded at Artspace Sydney in 2012 during The Color of the Sky Has Melted, a survey exhibition of Fusinato’s recent projects. Fusinato performed facing a large, purpose-built wall that bisected the exhibition space and displayed his Double Infinitives series (large-scale works that appropriate from the print media the archetypal image of the riot: the masked protagonist who brandishes a rock against a backdrop of fire). Fusinato’s sculpture Aetheric Plexus, which unleashes 13,00 watts of white light and a 105db blast of white noise when triggered by the audience, was active in the space during the performance and provides an aleatoric counterpoint throughout the recording. The crushing volume and harshness of the performance is intensified throughout by the reverberant gallery space, which creates a swirling, almost psychedelic effect as Fusinato’s sounds bounce from wall to wall. Spectral Arrows: Sydney condenses a six-hour performance into under forty minutes. Compared to the rapid-fire cut-ups of Spectral Arrows: Rotterdam (De Player, 2013), the pacing here is more measured. Disorientating explorations of asynchronous stereo fields fade into periods of minimal drone, broken by the distant eruption of Aetheric Plexus; bottom- heavy oscillations give way to pointillist chatter; continuous streams of hum and crackle grow steadily until they form monumental aural sculptures.

Available from all good record stores

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spectral-arrows-rotterdam-v3

Marco Fusinato ‘SPECTRAL ARROWS: Rotterdam’ (above: back/front cover)
DE PLAYER 2013 / DOB 065 LP – Live recording. Programmed and produced by DE PLAYER 18 May 2013 at
Groothandelsgebouw, Rotterdam, The Netherlands – recorded by Gerben Kokmeijer – supported by Mondriaan Fund & WORM

 

Spectral Arrows is an ongoing series of long-duration performances for guitar and electronics. In Spectral Arrows, Fusinato arrives at the venue when it opens for business, sets up his equipment facing a wall and proceeds to play for the whole day until the end of business hours. Fusinato presents himself here in the guise of a worker, clocking on and unceremoniously clocking off at the end, refusing to allow the behind-the-scenes mystery of rehearsals and preparations to lend an aura to the performance, and affirming the deskilled ethos of his work. For the audience, the length of the performance frustrates the expectation of a manageable form, forcing all but the hardiest audience members to content themselves with only a fragment of the whole. Even for those who stick it out, the extended duration, like in the late works of Morton Feldman, destroys the listener’s ability to retain and assess the structure of the performance. Breaking with both the traditional form of the musical performance and, through Fusinato’s resolutely anti-social position facing away from the audience, the standard affective relationship between audience and performer, the sound of Spectral Arrows becomes a monumental aural sculpture, filling the space, not with steel or concrete, but with vibrations travelling through air.

 

SPECTRAL ARROWS: Rotterdam presents a rapidly edited sequence of events from a performance in May 2013: stuttering live concret, wailing feedback, Xenakis-esque swarms of descending glissandi, abusive guitar wrangling, walls of harsh static.

Available from http://deplayer.nl/ and all good record stores

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tema

Marco Fusinato ‘L’Origine/TEMA’ (above: back/front cover)
Bocian Records, bcMAF, LP, 2013

Drawing inspiration from the “Action Direct” expanded guitar performances of Masayuki Takayanagi, Fusinato places the guitar at the centre of his work. A few crudely played strings provide the impetus for a long chain of electronics which obliterate the original signal and leaves us with a hyper-kinetic wall of full frequency spectrum noise. Like the piano in David Tudor early 1960’s performances of Cage’s Variations II, in Fusinato’s work, the guitar is the object of a dialectic of simultaneous adulation and annihilation.

 

This LP presents 5 pieces demonstrating various possibilities of Fusinato’s current interface between the guitar and electronics, from rapid-fire cut-ups that mimic the dynamics of classic musique concrète, to slowly building mass projections, in which layers of sound gradually rise to the surface, tussling for space at the top until they reach a near unbearable density. Presented mostly in crisp and detailed fidelity, one piece exploits the recording potential of the iPhone to achieve a harsh room-tone reminiscent of the works of Fusinato’s comrade Bruce Russell. L’Origine/TEMA is Fusinato’s most advanced work to date, moving beyond the startling juxtapositions of sound and silence found on his Spring Press LP to reach new dynamic complexities, new ambiguities between indeterminacy and intention, new relations between instrumental performance and its effacement.

 

Continuing the design scheme of his previous LPs, which commandeer art historical images as cover art and mass print media grabs on the reverse, the cover artwork for L’Origine/TEMA is composed of Gustave Courbet’s infamous 1866 painting L’Origine du monde.

 

(–) Francis Plagne

Available from http://bocianrecords.com/releases.html and all good record stores

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07

Marco Fusinato ‘Ambianxe’ LP (above: back/front cover)
The Spring Press, Sydney/NYC The Spring Press #9
2010

“Live recordings of incendiary guitar crash. Two sets over two nights at SuperDeluxe Tokyo, 2010. Limited edition of 250 copies on 180 gram virgin black vinyl”.

Available from http://www.thespringpress.com/ and all good record stores

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08

Marco Fusinato ‘Ripping Skies’ LP (above: back/front cover)
No Fun Productions USA NFP#42
2009

 

“From the bowels of the southern hemisphere, guitar/electronics noise signor Marco Fusinato gives us the full F/A-18 squadron attack. One side, an inferno of mangled guitar spit, relentlessly speeding and colliding with all in its path. The flipside features a giant monochord stuck in the overload. Cover artwork by Australian colonial convict/forgerer/artist Joseph Lycett- everything’s wrong. Limited Edition”.

Available from http://www.nofunproductions.com and all good record stores.

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