Sound. Art. Sound art. Two words either used interchangeably or distanced so far apart that the individual spaces of which they occupy seem completely alien to each-other. Fuxter Schittly over 20 years ago managed to both simultaneously destroy, and marry the two words to a degree traditionally only seen in the camps of Carl Stone, John Cage, DJ Spooky, The Haters, Emil Beaulieau, early Terry Riley, The Faust Tapes etc., yet all the while seemingly having absolutely nothing to do with any of those whatsoever. Carving his own vision of the what the words ‘sound’ or ‘art’ might mean utilizing destroyed records, turntablism sculptures, dumpstered tapes, records played wrong and fearless experimentation - One realizes that the questions could quickly outweigh the answers: Where does a song, sampling, stealing, art, composition, deconstruction, exploration and sonic sacrilege begin? Where does it end? What if one finds a sound, and completely rearranges it? What if they leave it just as they found it? Does one even need to know a goddamned thing about any of that to make sound? To make art?? Who knows - but one thing is for certain, the work of Fuxter Schittly has left all of those questions up for you to wrestle with while he’s gone and created one of the most mind-blowing collections of underground audio surgery ever recorded. This compilation collects tracks from 1998-1999 from one the most unique and brilliant underspoken Cincinnati artists to ever fiendishly touch a tape machine. Incredible in every sense of the word. -Brandon Hill