"CROSSING DAYLIGHT" AVAILABLE NOW
Cover: Sun Beams Into Grand Central Station By Hal Morey, licenced from Getty Images
Interior: Pennsylvania Station, Samuel Gottscho, Public Domain Library of Congress
Disc: She Leaves by Retro Atellier, licensed from Getty Images
Allen Ravenstine “Nautilus / Rue Du Poisson Noir”
The analog abstraction for which Ravenstine became known remains a significant part of his current sound palette, but recent years have seen him turn increasingly toward outlandish eclecticism as his foundation. 2018’s celebrated Waiting for the Bomb (RER Megacorp) bounded freely between disparate styles and instrumentation, all the while managing to convey a cohesive (albeit off-kilter) identity.
He is now launching his much-anticipated follow-upon Waveshaper—a series of four EPs collectively entitled The Tyranny of Fiction. Materializing as a pair of LPs with one EP per side, or as two double CD sets, these works continue to chronicle the approach unveiled on their predecessor. The cheeky series title hints at a tension that’s fundamental to these recordings. Ravenstine’s use of genre suggests it’s almost a literary device to him.
Limited BONE-WHITE-vinyl, Standard BLACK-vinyl, 2CD Digipack, Digital
Allen Ravenstine “Electron Music / Shore Leave”
Waveshaper Media is thrilled to present Electron Music/Shore Leave, a new LP by former Pere Ubu synthesist and electronic music trailblazer, Allen Ravenstine. The LP is comprised of two EPs (1 per vinyl side), the first two parts in Raventine’s new Tyranny of Fiction series. Waveshaper Media first came into contact with Ravenstine when we interviewed him in 2012 for our modular synthesizer documentary I Dream Of Wires.
Ravenstine played the majority of the sampled instruments on these recordings as well as piano, Moog theremin, a Roland Aerophone and a bevy of synthesizers including a Korg MS20, EML 200, and a Doepfer Dark Energy. Recording virtually over the internet due to the covid pandemic, collaborators from around the world contributed Ondes Martenot, prepared piano, transverse flute, trumpet, saxophone, double bass and percussion.
NOW AVAILABLE!! The album contains 10 songs on vinyl LP – limited to 300 copies, with 100 on orange-vinyl, and 200 on standard-black. The recordings are also available digitally, as well as on two separate CD-EPs: Electron Music (wsm05 CD), and Shore Leave (wsm06 CD).
Trying to pigeonhole what genre this solo album from Pere Ubu co-founder and electronic artist Ravenstine is part of is pointless. In its 18 tracks, the hour-long album moves from the jazzy balladry of Sentimental Duet to the soaring ambient abstraction of 537 to White Plains. Who says old avant-garage acts can’t teach everyone something? Not me. This is killer.– Stuart Derdeyn, Vancouver Sun (on Waiting for the Bomb)
– Robert Bowman (on Waiting for the Bomb)
– Nick Storring (on Waiting for the Bomb)
– Joseph Neff, The Vinyl District
It's easy to tell when someone is out there on their own - no one can follow. That's the paradox of the pioneer. There's only one Pike's Peak, it's Pike's - everyone else is a tourist. Allen Ravenstine is a pioneer of existential acoustics. His work with the band Pere Ubu, like that of other pioneers, defined a new paradigm in the form of the narrative and is, at the same time, a dead end. Forty years later, tourists are swarming up and down the Pike's Peak of electronic music, leaving behind ever more grotesque graffiti. Electronic music is a freak show, ever more intent on divorcing Sound from Meaning. Allen has not followed the herd. His eye is singular and focused on story-telling.– David Thomas
...Ravenstine’s work has never been more conventionally alluring and approachable, whilst never loosening its abstract grip, and secondly, it imparts real dynamic and contrast when the album in its later stages reverts largely to his signature style. The 15-minute sequence of Out Late/Waiting/Spirits at the two-thirds mark of the album is a darkly exhilarating vertex of heathaze menace, absolute third-eye classic Ravenstine and all the more powerful for the tether to and twist against the more ludic and fanciful excursions around it.– Andrew Jay Duncan, We are Cult (on Waiting for the Bomb)