{"id":7353,"date":"2020-06-09T07:44:29","date_gmt":"2020-06-09T11:44:29","guid":{"rendered":"http:\/\/agitreader.com\/wp2\/?p=7353"},"modified":"2025-04-24T14:21:02","modified_gmt":"2025-04-24T18:21:02","slug":"pere-ubu-2","status":"publish","type":"post","link":"https:\/\/agitreader.com\/wp2\/pere-ubu-2\/","title":{"rendered":"Pere Ubu"},"content":{"rendered":"

\"David<\/a><\/p>\n

We\u2019ve interviewed dozens of artists here on The Agit Reader, some more than once, and there\u2019s no one that we have spoken to more frequently than Pere Ubu\u2019s David Thomas<\/a>. While we no doubt have a soft spot for fellow Ohioans, this fact is more a reflection of Thomas\u2019 unwavering ability to create music that is always challenging and enthralling, not only with Pere Ubu, but predecessors Rocket from the Tombs. (It also helps that he\u2019s never short on words or shy with his opinions.)<\/p>\n

For the uninitiated, Pere Ubu formed in Cleveland in 1975 out of the ashes of Rocket from the Tombs<\/a>, who also spawned the Dead Boys. RFTT was around for just over a year, only played a handful of shows and never saw the inside of a recording studio, but it was enough to secure a spot in the pantheon of punk lore. Ubu, on the other hand, took off quickly, securing a major label deal just a few years later after releasing a series of seminal singles that outlined the shape of post-punk to come before punk\u2019s first wave even crested. In the 45 years since their formation, Pere Ubu has continuously pushed the boundaries of whatever direction their muse has taken them. Most recently, that came in the form of last year\u2019s The Long Goodbye<\/i>, an electronically fueled concept record of sorts that even the most ardent of fans might have a hard time wrapping their heads around.<\/p>\n

This past month, however, Pere Ubu delivered something more recognizable: a live album. Released by Cherry Red, the album captures the band on its Coed Jail Tour in 2017, where they played those initial singles and songs from the five albums they made before going on hiatus in 1982. The bulk of the album was recorded at a festival in Jarocin, Poland, where difficulties with the sound crew got Thomas\u2019 ire up. This resulted in the town\u2019s mayor telling the festival to appease the singer (and the album being called By Order of Mayor Pawlicki<\/i>), not to mention a fiery performance of some of the band\u2019s greatest work.<\/p>\n

I got Thomas on the line once more to see how he was coping with the pandemic lockdown and check in on Pere Ubu\u2019s status.<\/p>\n

How have you been dealing with the pandemic and the lockdown?
\n<\/b><\/p>\n

David Thomas:<\/b> Well, I\u2019ve been locked down. I have a couple severe health issues so I\u2019m in a special category of ultra lockdown. But I\u2019ve been keeping busy.<\/p>\n

In what ways has this affected Pere Ubu?
\n<\/b><\/p>\n

DT:<\/b> We were going to do some more touring this year and it\u2019s knocked that on the head. We have rescheduled some things for September, but we\u2019ll see if that happens. It\u2019s very doubtful we\u2019ll go out this year at all.<\/p>\n

Getting to the album, when you set out on the Coed Jail Tour, did you intend to capture it on a live album?
\n<\/b><\/p>\n

DT:<\/b> No. Our soundman records everything on a multi-track system. He has a very compact system; our mixing desk is something that fits in his backpack. It\u2019s very efficient and modern. So he records everything, and he\u2019ll often mix the shows that he thinks are really good and send them to my manager. She was very excited by this one and kept pressing for us to put it out as an album. Cherry Red was interested so it went on from there.<\/p>\n

Apparently there was a latency problem caused by the festival trying to record the show, but it seems like the situation kind of escalated. Can you fill in some details?
\n<\/b><\/p>\n

DT:<\/b> The point is I was doing my soundcheck and I noticed this latency problem, which was very disturbing to me. I know that latency is usually caused by something so I was immediately suspicious. It was either some equipment that I\u2019ve run across before\u2014some cheap Chinese crap that sounds German\u2014or the other thing that causes latency, which is recording, and they\u2019re not supposed to do that. They kept saying that there was no latency that a human being could hear. But I told them that I could hear latency. My manager told them, \u201cListen, this is David Thomas. If he says he can hear latency, it\u2019s because he can hear latency.\u201d It was very obvious to me. When I was singing, I could feel air going over my vocal chords and out of my mouth. Usually at that point you hear sound, but I was hearing a delay. It doesn\u2019t matter if others could hear it or not\u2014I could hear it.<\/p>\n

On the recording, it seems like something happened after \u201cDub Housing.\u201d
\n<\/b><\/p>\n

DT:<\/b> Yeah, I blew the mic out in the middle of \u201cDub Housing.\u201d There were a lot of things going wrong. There\u2019s a line where I sing \u201cTalk!\u201d very forcefully and it broke the mic. There was a lot of confusion, and Michelle was trying to move her mic over to me while still playing bass. People were dashing around onstage, but I just went to the front of the stage and kept singing without a mic.<\/p>\n

There\u2019s a rule in Pere Ubu: if something breaks, fix it and catch up. We\u2019re not going to stop. The show goes on.<\/p>\n

Do those sorts of things just roll off your back?
\n<\/b><\/p>\n

DT:<\/b> I may be concerned, but I keep going. We had a guitar player at one point who expected if he broke a string for the whole thing to stop. He would be panicking and knocking things over, and someone would have to tell him, \u201cHey, David\u2019s not going to stop. The show is going on. If you can\u2019t play, we\u2019ll go on without you. Fix it and get back into the stream of things.\u201d That happens.<\/p>\n

You did an interview<\/a> with one of my writers. I think you were talking about the band\u2019s formative years, but you said that every performance needs to be a major statement. Do you still take that approach?
\n<\/b><\/p>\n

DT:<\/b> It\u2019s not as much of a statement because we\u2019re not doing only two or three shows per year. If the most you can expect to do in a year is two to three shows, then yeah, every show is important. Shows are important, but they\u2019re probably not as important as they were in those days. I\u2019ve done hundreds of shows\u2014I can\u2019t even count them up. Failure in a show is distressing, but no, it\u2019s not that huge. Still, it doesn\u2019t lessen the feelings of doing a bad show.<\/p>\n

You\u2019ve said that initially you intended to put the \u201c30 Seconds Over Tokyo\u201d single out then get a job or something. What kept you going all these years?<\/strong><\/p>\n

DT:<\/strong> What\u2019s kept me going is the quality of the music was very exciting. Then it built step-by-step. We did a show to promote the single, which was New Year\u2019s Eve 1975. It went good so then we did another single, and it built that way. The first single was supposed to be \u201c30 Seconds Over Tokyo\u201d with \u201cFinal Solution,\u201d but then \u201cHeart of Darkness\u201d developed from a jam while rehearsing so we used that instead. I wanted to make sure \u201cFinal Solution\u201d came out so we wrote \u201cCloud 149\u201d and put that out. It just went from stage to stage.<\/p>\n

I saw the Coed Jail tour in New York and then The Long Goodbye<\/i> show at Bush Hall here in London. Did you feel like The Long Goodbye<\/i> needed to be undiluted by other material?
\n<\/b><\/p>\n

DT:<\/b> The old material is all still part of who I am and what I do, but I wanted to have a break from it. And The Long Goodbye<\/i> is a unified performance piece, and it\u2019s enjoyable to do as a unified story. For instance, we did a film underscore for Carnival of Souls<\/i> some years ago. There\u2019s no point in putting a couple of songs in the middle of that idea. As you\u2019re playing to a film, you stick to the project. That\u2019s in a way what The Long Goodbye<\/i> is. I mean, there\u2019s no film\u2014well, actually there is! Kristy put together videos to play throughout the thing. But some of the early shows, like London, we had some technical difficulties and couldn\u2019t play them. But that\u2019s not the point. Doing the album is like doing the underscore to the Carnival of Souls<\/i> film. You just want it undiluted. It\u2019s not a bunch of hit songs or something.<\/p>\n

Although you\u2019ve said it was your attempt at pop radio\u2026
\n<\/b><\/p>\n

DT:<\/b> Well, how pop radio fits into The Long Goodbye<\/i> idea. What I heard on the radio was Philip Marlowe as played by Elliot Gould having a cup of coffee in the morning with the radio on. You\u2019d have to know the film really well to get the point. That\u2019s the problem with my work: it gets so specific sometimes that it\u2019s a little self-defeating. But I\u2019m used to defeating myself so I keep doing it.<\/p>\n

You\u2019ve said before that you want to make the perfect album and thus far you haven\u2019t done it, although New Picnic Time<\/i> is the closest you\u2019ve come\u2026
\n<\/b><\/p>\n

DT:<\/b> The Long Goodbye<\/i> is pretty damn close to being a perfect album in my point of view. It\u2019s very tempting to stop, it really is. Part of the idea of the album was that, for various circumstances, it could very well be my last album. I mean, I died twice in the last three years. I have critical health issues, which at the moment are in pretty good shape. But I do have to face that I\u2019m nearing the end. I\u2019m 65 years old, so I\u2019m getting up there. You might have noticed that musicians tend to die early. I\u2019m very much aware of that, and I am doing a lot behind the scenes to make sure that the Pere Ubu package is organized and ready to pass on if I have to.<\/p>\n

Yeah, I read that you were grooming someone to take your place.
\n<\/b><\/p>\n

DT:<\/b> Yeah, that failed so I\u2019ve given up that idea. Although, I\u2019m always on the lookout for someone.<\/p>\n

But you did make a point of saying that The Long Goodbye<\/i> was not the last Pere Ubu album, just the end of a chapter. Has the next chapter begun to take shape?
\n<\/b><\/p>\n

DT:<\/b> No, but I haven\u2019t tried to make it take shape. There is actually a project in the works that I need to commit to that may be the basis for a new album. But I\u2019ve been very busy with other things, and I haven\u2019t been able to think about it. This past week I started putting my synthesizers back together in the studio, and it\u2019s beginning to percolate underneath.<\/p>\n","protected":false},"excerpt":{"rendered":"

We\u2019ve interviewed dozens of artists here on The Agit Reader, some more than once, and there\u2019s no one that we have spoken to more frequently than Pere Ubu\u2019s David Thomas. While we no doubt have a soft spot for fellow Ohioans, this fact is more a reflection of Thomas\u2019 unwavering ability to create music that […]<\/p>\n","protected":false},"author":17,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"jetpack_post_was_ever_published":false,"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":true,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2}},"categories":[6],"tags":[1752,2394,591],"class_list":["post-7353","post","type-post","status-publish","format-standard","hentry","category-features","tag-david-thomas","tag-interview","tag-pere-ubu"],"yoast_head":"\nPere Ubu - 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