最後の曲、humor meだけは何回聴いてもなかなか飽きない。思い立てば何回かリピートして聴いている。もちろんそれは毎日ではない（買った当初は毎日だったが）が聴くたびに「めっちゃええなぁ」とか「うわぁ～これはツボに入った」などと口に出す。
某日、そんな自分自身に問いかけてみた。
「どうして君はそう思うんだい？」
そう問いかけられて、10分間沈黙してしまった。
情けないが答えは結局出なかった。本当にわからない。10分を無駄にした。10分間にhumor meは４回も聴けるのに。

29人のお客様がこれが役に立ったと考えています

役に立った

ゆっくり考える

まず1枚買うならこれ

2005年1月8日に日本でレビュー済み

大量にアルバム出しているので迷いますよね。
私も全部聞いたわけでもありませんので偉そうなこと言えませんが、
このアルバムは確かに（まだ）聞きやすい・おもしろい・変わってる、の3拍子そろっていて良く聞く１枚です。
音の方はなんとも形容しがたですが、
FAUST
JAD FAIR
RED CRAYOLA
などを思い出させるジャンキーなサブポップ。
ヘタウマボーカル、ガレージぽいリズム隊、ぶっきらぼうな発信音。ラフトレードの遺伝子。
そして、のりのりのヘンテコダンスを踊りたくなる。＝モダンダンス
どうですか1枚。

17人のお客様がこれが役に立ったと考えています

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ランドルト環

ペル・ユビュ／ザ・モダン・ダンス

2012年12月3日に日本でレビュー済み

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1975年にオハイオ州クリーヴランドでデイヴィッド・トーマス（vo）を中心に結成された実験的なロックバンド、ペル・ユビュ（Pere Ubu）の1stアルバム。バンド名はフランスの作家アルフレッド・ジャリのシュルレアリスム演劇「ユビュ王」の主人公「P're Ubu」（ユビュ親爺）に由来。シンセ、サックス、テープなどを使用した、アヴァンギャルドでアート志向のガレージ・パンク。1970年代後半のポストパンク／ニューウェイヴの名盤の一つ。シングル曲「Street Waves」「The Modern Dance」収録。カン（Can）、キャプテン・ビーフハート（Captain Beefheart）、ワイアー（Wire）、パブリック・イメージ・リミテッド（Public Image Ltd.）、フィーリーズ（The Feelies）などを好む方におすすめ

13人のお客様がこれが役に立ったと考えています

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Massimo

Ottimo

2023年12月8日にイタリアでレビュー済み

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Da non perdere

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Ivan Garcia

Una verdadera obra maestra,que hace que me emocione e impresione cada vez que la escucho

2017年2月18日にメキシコでレビュー済み

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David Thomas(vocalista) una de las voces mas impresionantes que ha existido, su voz hace una perfecta fusión con los repentinos y potentes estallidos rítmicos llevando todo a una esquizofrenia, todo por la podrida sociedad industrial, cada vez mas muerta por los mecanismos económicos y sociales. Una visión del apocalipsis, hay verdadero arte en este álbum.
Pere Ubu una de las bandas mas subestimadas de la historia, pero una de las mas influyentes de toda la historia.

1人のお客様がこれが役に立ったと考えています

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Darker Scratcher

Meisterwerk der "Cleveland outsiders"

2015年2月18日にドイツでレビュー済み

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Nach den ersten punkigen Singles ab 1975 wie "30 seconds over Tokyo" folgte dann 1978 das erste komplette Album der Mannen um David Thomas. Das mit 10 schrägen Songs, die wie in steingemeisselte Klassiker des Avantgarde-Rock u.a. natürlich das auch schon als Single veröffentlichte "The Modern Dance" zu überzeugen wussten und immer noch können.Die Musiker wurden durch das Umfeld in der Industriestadt Cleveland beeinflußt und die Songs bringen die Resignation und die daraus resultierende "Punkattiude" gut rüber. David Thomas berichtet auf der DVD in dieser "Dual Disc" Version von diesen Anfangstagen in einem etwa 30 minütigen Interview. Spannend für den Fan und Sammler. Die Band hielt sich natürlich selbst für gut, aber sie hatten nicht so wirklich einen Vergleich oder die Absicht die "Hörgewohnheiten zu ändern", wozu diese Platte und die folgenden Werke der Band geeignet sind.
Es gab und gibt nur wenige Bands die eine "ähnlichen Ansatz" in einer solchen Radikalität bzw. "Freiheit" umsetzten.
Als Beispiele fallen mir "The Residents" und "Throbbing Gristle" ein, die tollen "Devo" waren auch in dieser Zeit aktiv und stammen auch aus Cleveland. Aber "Pere Ubu" nutzten im Vergleich zu alle diesen Band mehr das klassische Rockinstrumentarium und die abgedrehte Stimme und die Synthiesounds fallen hier mehr deutlich aus dem Rahmen. David Thomas gesteht nicht singen zu können und probiert daher seine Stimme über alle möglichen Oktaven und extreme Höhenflüge zu retten bzw. zu auszudehnen. Die Songs gehören auch heute noch zu den Livehows und sind wichtige "Statements" dieser wichtigen Band.
Gehört in jede gutsortierte Avantgarde-Rock Sammlung.

4人のお客様がこれが役に立ったと考えています

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John H. McCarthy

"You better get......The Modern Dance......"

2009年12月14日にアメリカ合衆国でレビュー済み

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There's been a lot of complaints and controversy regarding the DualDisc format, but personally I've never had any problems or concerns with the dozen or so I own. What was surprising to me was the fact that PERE UBU supports this floundering technology by proxy. But enough piddling about formats, let me get to the gist of this review, "How does it sound?" When Allen Ravenstine's synths start a burbblin' between the left and right fronts the minute or less of expectancy of the eventuality of Tom Herman's guitar slash was almost too much to bear, and when said slash came up from behind, let's just say that was probably the moment Kurt Cobain & Company decided what to name their new group, during that faded from memory listening party. If you haven't listened to "THE MODERN DANCE" lately, you'll reel from the 1-2-3-4-5 punch of "Non-Alignment Pact", "The Modern Dance", "Laughing", "Street Waves" and "Chinese Radiation". The five "B-side" cuts will stun as well, like taking a big deep whiff of that Cleveland air, circa 1978! If you've never had the pleasure of this for-the-ages debut, or are a fan with a 5.1 DVD set up, BUY NOW, while this silver disc of Power And Beauty still exists (and is at the lowest prices on here yet). Hell, buy it anyhoo until technology catches up with you, and you can sit back to let the swirl envelope you again and again......AWESOME!!!

4人のお客様がこれが役に立ったと考えています

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Daniel Margrain

Redemption in a post-apocolyptic urban landscape

2010年8月27日に英国でレビュー済み

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Pere Ubu singer David Thomas's stage persona and alter ego corresponded to the Jarry creation after who the band that he led were named. With their debut LP, Thomas metaphorically wears the mask of a tormented and melancholic individual whose inner psyche is troubled by paranoid complexes and schizophrenic urges. The channel through which Thomas seeks redemption from his inner phantoms and disorders is his prodigous voice.

However, these inner phantoms and disorders are indicative of a problem that lies elsewhere. The source of the problem is not the inner pysche but rather the external world - an industrialized urban capitalism from which emerges the alienated atomized individual. The deranged system of capitalism provides the catalyst for the creation of the post-modern industrial landscape out of which emerges the deranged paranoid individual.

Thomas's vocal range is far-reaching. He is capable of everything from Sinatra-style crooning to Marvin Gaye's falsetto and the roar of Howling Wolf. His voice acts as the mediating expression between the perceived malfunctioning human mind on the one hand, and the chaos of the industrial city on the other. In this respect, Thomas would have almost certainly agreed with Robert Anton Wilson's suggestion that the madness inherent to capitalism is not a problem of human consciousness which is deemed as somehow malfunctioning and in need of adjustment, but reality itself.

So the guiding theme of Modern Dance (1978) is that of alienation and anxiety within industrial society. Pere Ubu take the fear of the modern world and transplant it into a different scenario, in which death is not physical but spiritual, not due to bombardment but to economic and social mechanisms.

Their sound starts out from the spirit of old-style garage-rock, but the sound is distorted in a rhythmically groteque way. Thomas is more of an 'actor' than a musician for whom surreal lyrics and student humour attenuate the dramatic force of the performance. Within the sound there is also a feeling of resigned fatalism, collective madness and rational fear - the same kind of emotions that seized the young of the post-war era, when the atomic threat held everybody in suspense.

However, the fear now is justifiably more real because capitalism is increasingly reaping its own kind of holocaust - from the dramatic negative effects of climate change, to the grotesque levels of global socio-economic insecurity and inequality.

The message conveyed in the album appears to be the following: As long as such problems are one's that human beings are individually deemed to be pathologically pre-disposed to (as opposed to one's that are rooted in the economic and social system), the human race are inevitably doomed to destruction because of our lack of effectively confronting the challenges we face.

In other words, Pere Ubu invoke the necessity of the human race to grapple with the problems it faces in an objective way, if it is to avoid becoming the complicit author of its own holocaust.

'Modern Dance' is composed of free-form phases (woodwinds, cacophony of the keyboards, rattling guitars, psychotic thrills) alternating with sudden powerful rhythmic flarings and veritable flashes of hallucinatory violence in the calm of the urban neurosis, in which Thomas gives vent to his raging vehemence. The singing is schizophrenic as is the overall sound.

The work opens with 'Non Alignment Pact', which plunges into a furious, deafening bacchanal of cryptic slogans, ungainly vocals, discordant strumming, electronic distortions and primordial pulsations.

The title track has a kind of primordial organic funk sound which evokes the smoke of factory chimneys and the ordered structure of the production line, while the singing evokes desperation. The piece is a dramatic invocation of the tyrannical condition of human labour against a backdrop of impending disaster. The use of 'sound collage' ('concrete' sequences and electronic sounds), emphazizes the climate of tragedy.

The eclectic 'Laughing' begins with an ominous screeching sax and clipped guitar overlayed by a funk beat and manic vocals.

'Street Waves' is swept by an ominous wind (which evokes the miasmic gust after an atomic explosion) and driven at supersonic speed by a stop-start rhythm. What the song invokes is a prophetic vision of the apocalypse.

Wandering guitar chords punctuate 'Chinese Radiation' which is propelled along its path by Thomas's chaotic and unrestrained vocals.

Both 'Life Stinks' and the closing 'Humor Me' are representations of Thomas's incoherent cries amid bubbling synths with a general atmosphere of uproar.

Syncopated rhythm, buzzing interference and metallic, discordant guitar, frequent 'Over My Head' which has a foreboding slow 'spirit-dance' feel to it that is pregnant with agonised suspense.

'Sentimental Journey' is a random mass of dissonance of breaking crockery, disconnected phrases of synth and a somnambulant lament. The song is in the proudest experimental tradition of 'musique concrete' psychedelia, but it is also a manifesto of agit-prop Dadaist music. The piece is a product of industrial civilisation, its perversions and its anxieties. Thomas, alone and raving amid the fragments of crockery, represents the living embodiment of a decaying world.

The track symbolizes the synthesis of the anarchic and the rational and gives a voice to the expressionist howl which simultaneously embodies something cultured, refined but also primitive. Pere Ubu, like the capitalism which they critique, are propelled forward by contradiction that climaxes in a terrifying end.

The sound of 'The Modern Dance' is innovative: the singing of Thomas - despite the claims of a previous reviewer - is most definetely in the 'Beefheartesque' tradition, the rhythm section grinds out a paradoxical rhythm, a rough and elemental danceability, to the twisted accompaniment of a primitive, strange and hypnotic guitar sounds.

Electronics and effects are used in a way that has influenced a successive generation of musicians. The earthy and disarticulated way they have been used acts as an ironic counterpoint to the maniacal anxiety of the band.
Thus unbalanced, the music is ambitious enough to function as the soundtrack of industrial landscapes and, by extrapolation, as that of the holocaust.

Pere Ubu's aesthetics is one of auto-destruction and of the absurd and grotesque - themes which can be referenced to Jarry. Within 'The Modern Dance' is a prophetic apocalyptic vision of catastrophe and despair, of lonelinless and isolation, of madness and violence. Above all, 'Modern Dance' is a 37 minute pagan representation of the world's impending end.

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Modern Dance

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