"For its 19th edition, the Swiss magazine zweikommasieben presents a view on ambiguity as a hallmark of contemporary art and music, especially within our scene and its culture. After all, one would be hard-pressed to classify the work of its artists in terms of a singular activity, style, scene, or context. Félicia Atkinson, who has contributed a series of collages to this issue of zweikommasieben, is not simply a musician, but also a poet, visual artist, publisher, label owner, and more. The DJ and producer Parris, who was interviewed for this issue, places himself in a musical "no-man's land", although he grew up listening to grime and dubstep. The feeling of not belonging has been an issue for Phillip Sollmann, aka Efdemin, throughout his entire career. Until recently, Sollmann was set on keeping two fields of interest -- a career in techno and his pursues in sound art projects -- separate from each other. In the interview he talks about how realizing that such a clear distinction was not necessary and how the resulting aesthetic cross-fertilization has had an impact on himself. Finally, Caterina Barbieri, Cam Deas, Kali Malone, and Robin Buckley, aka rkss, who all pop up in this issue of zweikommasieben in one way or another, all understand their craft as a rupture with established musical genres and associated aesthetic norms, albeit in different contexts and using different means. There is no doubt that ambiguity, uncertainty, tension, and conflict lead to friction, but at the same time ambivalence, complexity, and multiplicity generate enormous aesthetic potential. Full content: Interviews with Cam Deas, Caterina Barbieri, Die Wilde Jagd, Gaika, Hdmirror, Kali Malone, Michele Rizzo, Parris, and rkss; a portrait of Efdemin; an essay on "Radio Spectral" by Francois J. Bonnet as well as a photo essay on the Rhizom Festival; regular columns like Anna Froelicher's "Track Down Fiction" (text), Georg Gatsas' "We Are Time" (photos), or Simian Keiser's "Sound Texts" (poetry); Contributions by Collapsing Market, Félicia Atkinson, and Wolf Eyes. Bi-lingual: English, German; 136 pages; size: 200x270x9 mm; edition of 2000."
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.