Pere Ubu’s 3rd album of prism-warping new wave is duly kicked back into touch by Fire Records on its 45th anniversary - a staunch reminder of David Thomas and co.’s brilliantly wigged-out bridging of art rock and avant garage experimentalism that would float myriad imaginations in their wake
After ripping up templates in 1978 with the classic couplet of ‘The Modern Dance’ and ‘Dub Housing’, Cleveland, Ohio screwballs Pere Ubu only got weirder, wilder on 1979’s ‘New Picnic Time’. Forged in apparently contentious studio sessions that prompted them to disband after touring the record (only to reform months later, incorporating Mayo Thompson), it’s maybe not hard to hear the tensions manifest across the nine taut but frazzled songs, defined by schizzy oscillations of deep fried concrète noise and nagging hooks.
Ever the mischievous contrarians, Pere Ubu would push those snagged on their preceding record, into more adventurous zones that perhaps tested the listener’s sanity and how far they would follow them down the line. From the first signs of slackened, angular, discordant funk and yowl in ’49 Guitars and One Girl’ the band signal they aren’t playing safe, and it only gets stranger as the record proceeds, via the passage of hooting concrète electronics and tape-slurred vox on ‘A Small dark Cloud’, to a sort of chirpy swamp rock swarmed by incessantly buzzing noise on ‘Small Was Fast’, and detuned strings of ‘All the Dogs AreBarking’, to wickedly spannered garage funk rock in ‘Make Hay’, and country-glam-rock swag of ‘Kingdom Come’ - all giving license for future generations to fuck with forms.
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2024 Re-press.
Available To Order (Estimated Shipping between 7-14 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Pere Ubu’s 3rd album of prism-warping new wave is duly kicked back into touch by Fire Records on its 45th anniversary - a staunch reminder of David Thomas and co.’s brilliantly wigged-out bridging of art rock and avant garage experimentalism that would float myriad imaginations in their wake
After ripping up templates in 1978 with the classic couplet of ‘The Modern Dance’ and ‘Dub Housing’, Cleveland, Ohio screwballs Pere Ubu only got weirder, wilder on 1979’s ‘New Picnic Time’. Forged in apparently contentious studio sessions that prompted them to disband after touring the record (only to reform months later, incorporating Mayo Thompson), it’s maybe not hard to hear the tensions manifest across the nine taut but frazzled songs, defined by schizzy oscillations of deep fried concrète noise and nagging hooks.
Ever the mischievous contrarians, Pere Ubu would push those snagged on their preceding record, into more adventurous zones that perhaps tested the listener’s sanity and how far they would follow them down the line. From the first signs of slackened, angular, discordant funk and yowl in ’49 Guitars and One Girl’ the band signal they aren’t playing safe, and it only gets stranger as the record proceeds, via the passage of hooting concrète electronics and tape-slurred vox on ‘A Small dark Cloud’, to a sort of chirpy swamp rock swarmed by incessantly buzzing noise on ‘Small Was Fast’, and detuned strings of ‘All the Dogs AreBarking’, to wickedly spannered garage funk rock in ‘Make Hay’, and country-glam-rock swag of ‘Kingdom Come’ - all giving license for future generations to fuck with forms.
Available To Order (Estimated Shipping between 1-3 Working Days)
This item is to the best of our knowledge available to us from the supplier and should ship to you within the time-frame indicated. If there are any unforeseen issues with availability we will notify you immediately
Pere Ubu’s 3rd album of prism-warping new wave is duly kicked back into touch by Fire Records on its 45th anniversary - a staunch reminder of David Thomas and co.’s brilliantly wigged-out bridging of art rock and avant garage experimentalism that would float myriad imaginations in their wake
After ripping up templates in 1978 with the classic couplet of ‘The Modern Dance’ and ‘Dub Housing’, Cleveland, Ohio screwballs Pere Ubu only got weirder, wilder on 1979’s ‘New Picnic Time’. Forged in apparently contentious studio sessions that prompted them to disband after touring the record (only to reform months later, incorporating Mayo Thompson), it’s maybe not hard to hear the tensions manifest across the nine taut but frazzled songs, defined by schizzy oscillations of deep fried concrète noise and nagging hooks.
Ever the mischievous contrarians, Pere Ubu would push those snagged on their preceding record, into more adventurous zones that perhaps tested the listener’s sanity and how far they would follow them down the line. From the first signs of slackened, angular, discordant funk and yowl in ’49 Guitars and One Girl’ the band signal they aren’t playing safe, and it only gets stranger as the record proceeds, via the passage of hooting concrète electronics and tape-slurred vox on ‘A Small dark Cloud’, to a sort of chirpy swamp rock swarmed by incessantly buzzing noise on ‘Small Was Fast’, and detuned strings of ‘All the Dogs AreBarking’, to wickedly spannered garage funk rock in ‘Make Hay’, and country-glam-rock swag of ‘Kingdom Come’ - all giving license for future generations to fuck with forms.