PERE UBU Ln 1975, Pere Ubu Was Organized As a One-Off Recording Project

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Ile-_c-o_1'do ENIGMA. PERE UBU ln 1975, Pere Ubu was organized as a one-off recording project. lts horizons soon broadened- Four self-produced singles, released betweeo 1975 and 1977, led to major iabel releases in 1978- The first album, enlitled The Modern Danôe, and lhe later Dub Housing were bolh considered important albums and lound their way to several crilics' "don't miss' lists. Over the cburse of the next four years; Ubu:co'ntinued to experiment with lhe lorm of rock music, pursuing the way of the avant-garage;recording three more studio LPs: 1980's controversial The Art Of Walking;'Nèw Picnic Time and:The Song Ol The Bailing Man- By 1982, Pere Ubu had exhausted ltself. "We were all so tangled up Ity quii!É. create together had gotten mired," said Allen Ravensli rnt intervii we reached a point like that we'd try difierent cu music somewhere new. By the end, we'd exhausted There were no melodramatic scenes or mply stopped working. Weeks turned into months (and then years) while members group busied themselves in other fields. Allen worked with Mayo Thompson's Red Crayola before dropping out of music altogether lor a time. Scott Krauss ony Maimone founded Home & Garden. David Thomas fronled a succession and poetry troupes; first The Pedestrians, then The Wooden Birds. : ln 1986, however, the way was clear lor a revitalization of Reconcilialions had _U9tl,Proie.x. been accomplished and evênts began to suggest thsinevitability of it. Thomas, Ravenstine and Maimone were working together as The Wooden Birds and planning a rock pro.iect with guitarist Jim Jones (an Ubu associate lrom the days of the Cleveland underground) aid drum- mer Chris Cutler, Ubu friend and tormer member of '70s avant-rock pioneeÉ Henry Cow. Ubu art designer John Thompson had also re-surfaced and was involved. ln September of that year, Scîtt Krauss sat in with The Wooden Birdé for ân impromptu set ol Ubu songs at a concert in Cleveland. Between encores he agreed to join up- ''fhe more we talked about the next project and sat there looking al each other," recalled David Thomas, "the more it became obvious thal what we were lalking about was Pere Ubu-" A year later the group gathered in Cleveland'to begin work on ltre Tenement year, their first sludio album in six years- This is Pere Ubu's first release tor Enigma in America. FÀ,rrCM4 RECORDs it.i0 t^t Ilotty Au"4,..t t:'g'ddo.(otl.mûaûa5. a.'s rpi 2lllb40 6Sôq rr, ?l l/b40.À141 Ir^_rGMA c^NAD^ 2163 Dunui-n Driæ. Missiseusur, Ontatio LsL 353 tcl 414,/828'a,l2l fa\ 416/aZA!'124 ENIcÀ{^EUIaOPED.Àuyl.rltn.41-43.1012A,4AÆtcdâ.TltN.th.rbùdsrlxI2i39IAOUD^{,vLlfâr020/247-cOr tà ,__,-t- - - < =>- -o i- - - - Ë i!? - ,L P \*- tE 1fË.

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Deliciously Crazy By Order Of Mayor Pawlicki, Pere Ubu (2CD, Cherry Red) When I interviews David Thomas, lead singer of Pere Ubu, back the end of the 20th Century, he had this to say about gigs: 'We don't like touring. We like the playing but not the driving. We don't like being in the newspaper. We don't have anything to say that anybody wants to hear. We don't care. I think that sums it up.' Mind you, he also said that he 'always thought [Pere Ubu] were a very traditional rock band. No, we are a very traditional rock band and always have been. It's not our fault that others have abandoned their roots and culture and traditions.' If you've heard the lurching, cacophonous monster that is Pere Ubu making music then you will probably be as sceptical as me. Pere Ubu came screaming out of Cleveland Ohio on the tail of American new wave and punk. Desperate to find new things to write about, the UK music press created scenes were there were none, invented fictional success stories and nonsensical controversies, launching a thousand bands they would later torpedo and sink. Some how, Pere Ubu are still afloat on an ocean of ragged vocals, jagged guitar, squawky synthesizers and offbeat rhythms. The press release uses the phrases 'dedicated brutality' which comes pretty close. I love Pere Ubu. They have never sounded like anyone else, have never bowed to peer or critical pressure, and have ploughed their own way through the music industry from the word go.
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Annnounce Fortnightly Podcasts of "Bring Me the Head of Ubi Roi"
r0Alêd9èy.r,^d{iw30€o.Tdôphô Cooking Vinyl E Mâi: .ro@coôkroùiy1.<ffi . lw.co{*jrevtÙia PERE UBU Annnounce fortnightly podcasts of "Bring Me The Head of Ubi Roi" Beginning Tuesday 16th June, and then every two weeks finishing 22"d September, an episode from Pere lJbu's ground-breêking project "Bring Me The Hêad Of Ubu Roi" will be podcast at www.hearDen.com, the band's own audio download web site. The subscription podcast is free. The series of eight podcasts covers the first three ads of the six act radio play that was inspired by the songs on Pere Ubu's forthcoming album "Long Live Père Ubu!" (release date: lYonday 14th September). The idea to record a 'radio play' was conceived as a wây of managing the 'silence' between songs in the concert set for the album so that the spoken word is manipulated and mixed with electronic ambience and transformed into a unique musical style of its own. The script for the radio play, adapted by David Thomas from Alfred Jarry's Ubu Roi (King Ubu), is also Version 2 of a theatrical production âlso called "Bring lYe The Head Of Ubu Roi" that premiered in its original version at the Queen Elizabeth Hall, London, on 25th and 26th April 2008. Êmbedded in the podcasts are songs from "Long Live Père Ubu!, as well as dialogue and electronic ambience. Sârah Jâne Morris (ex Communards, Happy End) performs the role of l\4ère Ubu, partnering Thomas who pêrforms as Père Ubu. Other members of the band supply the voices of other characters.
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