Important

BASINSKI & RICHARD CHARTIER, WILLIAM - Divertissment

Divertissement is the third collaborative full-length from minimalist composer William Basinski and sound artist Richard Chartier. The duo utilizes electronics, piano, tape loops, and short-wave radio to evoke a dense atmosphere suggesting hundreds of years of history rising up from the depths of a reverberating cathedral. Subtle, buried, and intense murmurs of melody morph through this deeply consuming and slowly evolving composition in two parts. William Basinski is a classically trained musician and composer who employs obsolete technology and analog tape loops to create haunting, melancholy soundscapes that explore the temporal nature of life and resound with the reverberations of memory and the mystery of time. His epic four-disc masterwork The Disintegration Loops was chosen by Pitchfork Media as one of the top 50 albums of 2004; upon its reissue in 2012, Pitchfork awarded it a score of 10 and the title of best reissue of the year. Installations and films made in collaboration with artist and filmmaker James Elaine have been presented in festivals and museums internationally, and his concerts are presented to sold-out crowds around the world. Basinski was chosen by Antony Hegarty to create music for Robert Wilsons 2011 opera The Life and Death of Marina Abramovic. Maxim Mostons orchestral transcriptions of The Disintegration Loops have been performed at the Metropolitan Museum of Art, Queen Elizabeth Hall, and the Swiss festival La B_ɬ¢tie. Richard Chartier (b. 1971), sound and installation artist, is considered one of the key figures in the current of reductionist electronic sound art that has been termed both microsound" and neo-modernist. Chartiers minimalist digital work explores the interrelationships between the spatial nature of sound, silence, focus, perception, and the act of listening itself. Chartiers work has been presented internationally, including at the 2002 Whitney Biennial, and he has performed his work live across Europe, Japan, Australia, and North America at digital art and electronic music festivals and exhibits. In 2000 he formed the record label LINE and has since curated its continuing documentation of compositional and installation work by international sound artists and composers exploring the aesthetics of contemporary and digital minimalism. In 2010, Chartier was awarded a Smithsonian Institution Artist Research Fellowship to explore the National Museum of American Historys collection of 19th-century acoustic apparatus for scientific demonstration." - Important.

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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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