"Room40 release Akio Suzuki and Aki Onda's Ke I Te Ki. "Akio Suzuki and I have been performing together frequently for the last five years; we have a tendency to perceive sound as space, or to always consider sound in relation to space. We don't usually hear sound sources as they actually are, since they are always modified by a space's acoustics and its reflections, absorptions, and attenuation. Sound is affected by the conditions and characteristics of a particular setting. We respond to the extra acoustics of these phenomena. Our ears have to be wide open, constantly adjusting to ever-changing detail. In performance, we opt for opens space where the audience can surround us or position themselves throughout the space. We also like tailoring site-specific performances to unusual locations, creating a dialogue between us and the environment. Ke I Te Ki was recorded in New York City in 2015 at The Emily Harvey Foundation - a SoHo loft-style art space that was once the studio of Fluxus founder George Maciunas. It is a historic building of New York avant-garde culture, and the last of the artist co-ops that Maciunas created in New York City. We had one day of preparation for the multi-track recording, performing for two nights surrounded by a limited but packed audience. The loft is itself quite constrained, and Akio and I needed a significant portion of the floor to place our gear and roam around. Microphones were everywhere, since our sounds diffused across the space. My role was to set an assortment of "scenes" with field recordings, sustained drones generated by an industrial electric fan, and electronic tones and pulses from radios, et cetera. Akio then built upon these with layers of melodies and rhythmic patterns, while we both engaged in fabricating distinctive texture and timbre. Akio kept changing his instruments, bringing surprises and sudden changes, creating contrast and powerful tension. Ke I Te Ki in Japanese means the sound of an alarm, or a whistle to call attention to a hazardous event. We hoped to develop our style by adopting a set of self-imposed rules related to the multi-directional soundscape, acoustical response to the space, and implementation of visual elements. Akio suggested the name Ke I Te Kias a reminder to push ourselves further. It was a lesson for us in questioning 'norms' and exploring other possibilities." - Aki Onda.
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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