不管你做什么pere ubu是（如果您有）可能是错误的，戴维·托马斯（David Thomas）有机会告诉你，他的脸。多年来，乐队（如果真的是乐队）代表了许多不同的事情，实际上，他们的创造力Lodestar对自己的职能本身有一些不同的看法。
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What is certain is that their body of work is one of the most exciting and unpredictable to emerge from the outer reaches of punk, beginning with a handful of groundbreaking singles and their iconoclastic first LP现代舞蹈, which is about to turn 45.
在开幕式的几秒钟内，您会听到一些熟悉但又不熟悉的东西。经典的最早时刻Non-Alignment Pact在托马斯（Thomas）带到另一个人的声音中，刺耳的噪音刺穿，对抗的响声和即兴直接从摇滚乐的原始rash击中范莫里森崇拜和部分表演艺术。
“我曾经说过，贝斯手实际上是乐队的吉他手，吉他手是贝斯手，合成器是人声，我是喇叭部分，”这位歌手曾经告诉瓜亚n。
A pop group
佩尔·乌布（Pere Ubu）是一支乐队。他们介绍了一些东西 - 笨拙的贝司线，勒死，吉他，吉他，无意识地自觉的现场表演和荒谬的宣言 - 将定义后朋克。但是当他们开始时，朋克还没有发生。
In the mid-1970s, Thomas was living at the Plaza, a “really nice old building in a terrible neighborhood” of Cleveland, Ohio. The city’s rock scene had produced bands, among them 15-60-75 (or the Numbers Band), the Mirrors, the Electric Eels and Thomas’s own Rocket From The Tombs, that were either dead or dying. Also living at or orbiting the Plaza were musicians and could-be musicians who were the right kind of weird, and plans were soon afoot to start something new.
岩石et From The Tombs guitarist Peter Laughner was one of them, and the building’s co-owner Allen Ravenstine was down for some EMS synth experiments. Rocket’s engineer Tim Wright would play bass (for a bit, before being replaced by another Plaza-ite in Tony Maimone) and Scott Krauss was a drummer of local repute. Tom Herman was a steel worker and guitar obsessive whose willingness to use the fundamentals of rock ‘n’ roll in new ways would become one of their trump cards.
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起初，Pere Ubu不是乐队，它们是一个出口。计划是制作一些事情和嘶哑的味道，但是他们的最初单曲产生了一种动力的感觉，并引起了音乐的创造性兴奋。劳纳（Laughner）于1976年离开，第二年因胰腺炎而死于毒品和酗酒。托马斯后来告诉夏洛特·普拉斯勒（Charlotte Pressler）：“只是这样说，在周围并不是一完全浪漫。”
拉文斯汀（Ravenstine）也进出了小组，但到1977年，他们是一台相当安定的机器，每周在克利夫兰（Cleveland）演奏，并经常冒险在纽约传奇朋克朋克朋克景点麦克斯（Max）的堪萨斯城（Max）的堪萨斯城和CBGB演出。Mercury Records A＆R的负责人克里夫·伯恩斯坦（Cliff Burnstein）对乐队来说很热，最终将签署给一个名为Blank的烙印，以淘汰现代舞蹈与克利夫兰唱片公司（Cleveland Recording Co.）的联合制片人肯·哈曼（Ken Hamann）和他自己在潘恩斯维尔（Painesville）农村的新工作室Suma进行了跟踪。
“The drums were in the same room, a wood-surfaced room in an old house that was built 70, 80 years ago,” he told磁带。“我们在一个高20英寸的小平台上坐在一个角落里。它周围有Gobos。我们能够将其隔离，以集中声音。
“The other instruments were generally in the room at the same time. We did have isolation booths nearby, adjacent to the studio, so we could put a vocalist or whatever in there. Most of the recordings were done with the basic tracks first, embellishments second, that is guitar things and so forth, and then the vocals last.”
岩石重新构想
现代舞蹈继续佩雷·乌布（Pere Ubu）的快速射击早期方法，汇集了工作室中写的一些现有剪辑和音乐。它有一种抓斗的感觉，乐队从一个位置到另一个位置，几乎不关心听众对细节的关注。Thomas is a tangle of surrealist energy at the record’s heart, with his his tirades and oddball melodies crashing into Herman’s wired playing, often at this point on a Strat or Tele Deluxe, which is both an attack on and appreciation of rock fundamentals—the two operating in tandem is like Luis Buñuel taking control of a Gary Cooper western or James Cagney gangster film.
街道波exists halfway between电视和Velvet Underground, and Herman’s soloing is incandescent. His status as the group’s sole guitarist is, at this point, reflected in the mix as Maimone’s bass is his chief sparring partner. There is a similar dynamic on the Laughner-pennedLife Stinks，在尖叫，托马斯（Thomas），拉文斯汀（Ravenstine）的萨克斯（Sax）和一些真正的自由爵士爵士乐（Herman）的自由爵士乐中的尖叫声中，富丽堂皇的低音线得到了回答。令人头晕。
近，Humor Me, was written for Laughner (“Another day? Well, suffer, for that’s the way of the west.”) and runs the gauntlet of Herman’s talents, with its dub riffage replaced by a patient solo and uber-melodic lead lines as Ravenstine ramps up the weirdness. Given Pere Ubu’s almost immediate decision to move on stylistically with the equally wonderful配音外壳，在这些瞬间被捕获的时刻交流中有一种真正的感觉。朋克总是非常擅长放错重要的文档，因此能够重新访问这样的记录并被运输总是令人放心的刺激。
Infobox
pere ubu,现代舞蹈(Blank, 1978)
Credits
- 大卫·托马斯（David Thomas） - 人声，穆斯特（Musette），打击乐器
- 汤姆·赫尔曼（Tom Herman） - 吉他，人声
- Allen Ravenstine – synthesizers, saxophone, tape manipulation
- 托尼·迈蒙（Tony Maimone） - 贝斯，钢琴，人声
- Scott Krauss – drums
- Tim Wright – bass (现代舞蹈and感性的旅程）
- 肯·哈曼（Ken Hamann） - 联合制作
Standout Guitar Moment
街道波
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