OGBOH, EMEKA - 6°30'33.372"N 3°22'0.66"E

"The Nigerian sound and installation artist Emeka Ogboh will release his second album 6°30ʹ33.372ʺN 3°22ʹ0.66ʺE via his newly launched Danfotronics imprint for experimental electronic music from Nigeria, West Africa, and beyond. The album follows Beyond The Yellow Haze (2021), which was re-released last year via Ostgut Ton sublabel A-TON. While Beyond The Yellow Haze took a more macro sonic overview of various areas in Lagos, 6°30ʹ33.372ʺN 3°22ʹ0.66ʺE turns its hyper-specific geographical focus toward the sounds and voices within the city's Ojuelegba bus station and its environs. It's a sonic "zooming-in" to the anarchic, self-organized urban node at a critical transformational juncture, previously immortalized on Fela Kuti's legendary track and critique of post-colonial Lagos, Confusion. Ojuelegba was also the previous location of a sacred historical shrine created for Eshu, the Yoruba god of dance and confusion (amongst other things), and located at the area's main intersection. This junction is the starting point for Lagos's numerous yellow VW Danfo buses, whose drivers and conductors, recorded by Ogboh, provide a kind of verbal mapping of the neighborhood on the album; spoken descriptions of bus routes, food, spiritual geography, history, and prostitution. On 6°30ʹ33.372ʺN 3°22ʹ0.66ʺE, Ogboh converts these field recordings and voices into a musical ode to Ojuelegba. Over eight tracks, Nigerian Pidgin, a form of Creole, takes center stage, guiding the listener from informal interviews on the origins of the name and descriptions of Ojuelegba via massive, cavernous drums, synth and bass of album centerpieces "Wọle" (enter in Yoruba) and "Ayilara" (the red light district). Elsewhere, the kick-less Afro-electronics of "Verbal Drift" unfolds amid overlapping conversations and a bus conductor's verbal spin on the neighborhood, while the ambient Lagos techno of "No Counterfeit" (one driver's declaration of Ojuelegba's matchlessness) and heady, hyper-detailed dub of "We Die Hia" (an avowal to never abandon Ojuelegba) serve as meditations on the area's 24-hour accessibility. "Oju 2.0", the album's penultimate and longest track, is a blurry ambient orchestra of multiple neighborhood field recordings combined into a single, sonic landscape -- each street scene decaying, reverberating and resounding at a different speed. As a sonic metaphor for order amid chaos, this sentiment echoes in the record's final interviews on finding a future -- Eshu willing -- within the anarchy of a neighborhood that never sleeps." - Danfotronics.
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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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