Pere Ubu
Carnival of Souls
Pere Ubu — Carnival of Souls (September 8, 2014)                                 Pere Ubu — Carnival of Souls                                                          Avantgaráž? Tady je velmi malá garáž ale spousta Avant. Dave Thomas je stále primární singer~songwriter. Stále se obklopuje mellotronem, klarinety a plechovými kbelíky, vytváří děsivou sci~fi film kulisu a zrovna tak děsivé poetické cvičení, kde zdůrazňuje svůj jedinečný pronikavý hlas a dodávám, někdy připomíná situaci, kde Tom Waits může znít jako po kopnutí do koulí a jednom nebo dvou výstřelech oxidu dusného. Toto album, stejně jako většina jejich kánonu, je vynikající. Hodnocení a kritická slova jsou zcela zbytečná v tomto bodě: toto je album Pere Ubu. Je to přesně to, co očekáváte, a přesně to, co nechcete. Rozmanitost, jemnost, dravost této kolekce se vzpírá zapomnění. Fantastická nahrávka. Hodnota názvu „Pere Ubu“ a uměleckého nekonvenčního charakteru Davida Thomase nebyly nikdy silnější. Jednoduše řečeno, potřebujeme Pere Ubu více než oni potřebují nás, a není to úžasné, mít je tady a teď, na plné obrátky? Za své $ je i pro tebe album dost dobré, jedno z nejlepších v letošním roce, tak hop na to.
♠   „Chtěl jsem jít tam, kam žádný člověk nechtěl jít“. Jedinečné myšlenky vedou do vězení.
Formed: 1975
Location: Cleveland, Ohio
Album release: September 8, 2014
Record Label: Fire Records
Duration:     67:22
01  Golden Surf II     4:10
02  Strychnine 1
03  Drag the River     4:01
04  Strychnine 2
05  Visions of the Moon     3:33
06  Strychnine 3
07  Dr Faustus     4:22
08  Strychnine 4
09  Bus Station     4:28
10  Road to Utah     4:21
11  Carnival     5:12
12  Strychnine 5
13  Irene     4:13
14  Brother Ray     12:02
Ξ      Carnival Of Souls is to be released September 2014 on Fire Records. It is Pere Ubu’s 18th album over a forty year career that has seen them break rules, confuse and continue to divide music critics globally. 
Ξ      Carnival of Souls was conceived in the midst of a gruelling tour schedule that accompanied the release of Lady from Shanghai. The band performed a live underscore for a screening of the 1962 movie that gives the new album its name at the 2013 East End Film Festival in London.
Ξ      A ‘shock troops’ version of the band went on the road in the UK and Europe to evolve those ideas into songs, improvising entirely new sets of music around core themes each night. On the road, the frayed nerves of the group meant they would switch from a whisper to a scream at any given moment, provoking each other, egging each other on and occasionally erupting as if in violent rebuke, before moments of gentle, bittersweet reprieve - an extraordinary work resulted.
Ξ      Transporting from relentless speed to weightlessness, noir riffs to drums pounding hoodoo grooves, each track offers a different experience.
Ξ      The CD version of the album includes ‘Brother Ray,’ described as a twelve~minute prequel to Nathanael West’s The Day of the Locust. On the vinyl version, five one~minute ‘Strychnine Interludes’ are woven through the album. Built around shortwave interference, a deconstructed garage riff and secret morse code transmissions, these interludes underline both the otherworldliness of the songs and the album’s credentials as a song cycle.
BY ROSS HORTON, 02 SEPTEMBER 2014, 11:30 BST; SCORE: 8.5/10
Ξ      It doesn’t really matter how you find out about Pere Ubu, because once you’ve heard one of their records, you’re unlikely to forget them in any old hurry. Pere Ubu are, quite simply, amongst the very finest of post~punk acts and have the requisite back catalogue and iconic frontman to set them apart from ‘the bunch’ (see also Bauhaus, The Teardrop Explodes.) Since that handy genre~tag was killed by White Lies not so long ago, we’re left with what remains of a ‘ post~punk band’ that has transcended both their given genre and their chosen style — the Pere Ubu you’ll find on Carnival of Souls isn’t the same band you’ll find on The Modern Dance, Dub Housing, The Tenement Year or even The Lady From Shanghai.
Ξ      The album opens with the terse, rigid throb of “Golden Surf II”, where atonal, dissonant crashes and off~kilter electronic squeals colour the album ‘intense’ from the get~go. There’s no breathing room before the raging sibilant opening of “Drag The River”, which is one of the best cuts on the album. The cymbal crashes lay waste to the listener’s mind, allowing Thomas’ deranged poetry to seep in unchallenged. The brain~frying intensity (and sonic terrorism) of following number “Visions of the Moon” invokes a very laborious (I wouldn’t necessarily say ‘bad’) acid trip, if the chosen setting for said trip were some post~industrial shithole (pardonnez mon français). The album gets weirder from there on out: The scraping, chopping riff of “Bus Station” is positively nerve~shredding; the haunting “Road To Utah” is halfway between Tom Waits’ broken~gramophone fright~fests and Faust’s broken~headed eerie psychedelia.
♦      “Carnival” is Strange Days of the 21st Century, all fairground organ and slinky guitars, while the relatively sedate ‘ballad’ “Irene” soothes and teases the listener endlessly. The final track, “Brother Ray” (natch) is a behemoth of a track — coming in at a hair over twelve minutes, it burrows into the listeners’ psyche with a disturbing ease. We find Thomas in fine voice, growling and cajoling and chatting his way through the juggernaut of freak~out~inducing empty sonic space whistling around him. If you’ll indulge me a brief anecdote that shows just how involving this album is, I listened to it twice before I’d even realised it was time to stop. “Brother Ray” just folds back in on itself to become “Golden Surf II” all over again — such is the completely mesmerising palimpsest of a record I found myself in the midst of.
Ξ      This album, much like the majority of their canon, is superb. Ratings and critical words are totally unnecessary at this point: This is a Pere Ubu album. It is exactly what you expect and exactly what you don’t. The variety and subtlety and diversity and ferocity of this collection defies belief, much like their last, fantastic record. The value of the name ‘Pere Ubu’ and the artistic, iconoclastic nature of David Thomas have never been more potent. Put simply, we need Pere Ubu more than they need us, and isn’t it amazing to have them here, now, firing on all cylinders? For my money this is as fine a record as you’re going to hear this year, so hop to it.
Jim Harris
Carnival Of Souls:
INTERVIEW: Sean Kitching , September 5th, 2014 08:28
Studio albums:
♠   The Modern Dance (1978)
♠   Dub Housing (1978)
♠   New Picnic Time (1979)
♠   The Art of Walking (1980)
♠   Song of the Bailing Man (1982)
♠   The Tenement Year (1988)
♠   Cloudland (1989)
♠   Worlds in Collision (1991)
♠   Story of My Life (1993)
♠   Ray Gun Suitcase (1995)
♠   Pennsylvania (1998)
♠   St. Arkansas (2002)
♠   Why I Hate Women (2006)
♠   “Long Live Pere Ubu!” (2009)
♠   Lady from Shanghai (2013)
♠   Carnival of Souls (2014)
Pere Ubu
Carnival of Souls