-¢‚Ǩ-ìThere is little controversy in suggesting that all that music consists of, essentially, is structured sound, and sound, to skirt its physics for want of both competency and space, represents the audible portion of an elapsed period. It has also been well established and explored that once one presents a work, regardless of medium, within the context of art, framing immediately occurs, separating the result from that which belongs to the natural order of things. And what of the Avant Garde-¢‚Ǩ‚Ѣs oldest muse, the distinction/interaction between life and art? Even that which we label -¢‚Ǩ-ìnon-fiction-¢‚Ǩ¬ù or -¢‚Ǩ-ìdocumentary-¢‚Ǩ¬ù is, at best, a tiny sliver of an infinitely complex substantiality. Indeed, these ideas are far from novel and, if handled awkwardly, would serve as tired, even mawkish premises for any aesthetic endeavor. So it follows: "Out of reaction...a step forward."With this position in mind-Ç we arrive at the inaugural release on -Ç Crisis of Taste,-Ç Violence as Sport: Audile Realizations of Atrophying Reality. Field recordings of deliberate nature and intent-Ç are shaped live, alongside tapes, environmental manipulations and microphone work, into six crude, lacing fragments chronicling processes of aural intoxication and abstraction, the tangible waning in muddled strands. Implicit through purposeful sequencing is a subtle critique of the concepts of verity and -¢‚Ǩ-ìauthenticity-¢‚Ǩ¬ù in the art object. Although trading in what some may justly declare egg-headed currencies, of which its maker-¢‚Ǩ‚Ѣs grasp is admittedly tenuous, receptive listeners should find value based purely on musical merit, particularly if they hold self-taught means of "reality confrontation" analogous to RLW/S.B.O.T.H.I., hewn collage tactics of the sort employed by Kiyoshi Mizutani or dedication to the minimally edited, yet often alluringly alien sound worlds of Philip Corner, in high esteem. Imagine all this assembled under, say, Hans Krusi-¢‚Ǩ‚Ѣs shaky gaze; if you haven-¢‚Ǩ‚Ѣt thrown up in your mouth yet then what we have here may be in your wheelhouse.-¢‚Ǩ¬ù - Crisis of Taste.
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.
