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ReR Megacorp

RAVENSTINE, ALLEN - Waiting For The Bomb

'"Eccentricity in music is tricky in that it's difficult to embrace it in moderation. There's risk of having it come off as either overly (and gratingly) deliberate, or teetering over the precipice into full-blown novelty. Pere Ubu co-founder Allen Ravenstine's Waiting For The Bomb is one of these rare exceptions where peculiarity, nuance and genuine warmth align in such a way that it's perched right on that edge and all the more evocative because of it. One of the album's most striking and disorienting attributes is its wide and volatile sound palette. Structured episodically, its eighteen vignettes jump between discrete sonic worlds. Dense clusters of raw sci-fi synth noise sit up against soundtracky miniatures while elsewhere, placid ambience emerges from stiff computer funk. Yet as one surrenders to the strange lurching quality of the journey, the uneasiness it produces somehow becomes grounding. Given Ravenstine's post-punk pedigree, it's unsurprising that this defiant sense of malaise and contradiction isn't just a byproduct of his playful genre tourism. It's actually a key unifying element that even lurks on the periphery of the album's most serene or seemingly innocuous moments. You can hear it in the way that the plasticky squareness of his sample-library orchestrations chafe against live brass and percussion on 'Spirits'. The prickly synthesizer on 'Venus Calling' creeps like toxic fumes through a genteel jazz arrangement. On 'Insomnia' Joe Sorbara's rapid drum kit scatterings punctuate a lugubrious throbbing bed of sound, yet as the ersatz fanfares begin to protrude you're not quite sure whether to be terrified or to laugh--or do both. The record's accompanying notes mention Ravenstine's childhood, steeped in second-hand Cold War paranoia. Waiting for the Bomb seems to embody that tension perfectly: a young, unbridled imagination haunted by both the grave threat, and perverse futuristic allure of total annihilation.'" - Nick Storring.

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  • Regular price $22.00


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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