A Daily Times e-mail interview: Pere Ubu

By Steve Wildsmith
of The Daily Times Staff

It’s not always easy discerning the truth behind a band as long-standing and enigmatic as Pere Ubu.

The short version of the band’s history, as lifted from Wikipedia: Pere Ubu first formed in Cleveland in 1975, with singer David Thomas as the sole constant in the band. The group is named after Père Ubu (“father Ubu”), the protagonist of “Ubu Roi” (“Ubu, the King”), a play by Frenchman Alfred Jarry.

The band has always operated below the radar, but among underground rock fans, it has an almost cult-like following and widespread critical acclaim. The group, whose most recent album is the 2006 effort “Why I Hate Women,” thrives on theatricality, mood and atmosphere above and beyond any sort of rock ‘n’ roll posturing. It’s been said that Thomas refuses to discuss the band’s music or conduct interviews with journalists, but in between a hectic touring schedule, he did agree to answer some questions via e-mail:

The Daily Times: In the band’s biography, you acknowledge the turbulence that would undoubtedly come from naming an album “Why I Hate Women.” In the wake of its release, has there been the sort of backlash you expected? Is there a particular reaction that stands out as being the most visceral, and if so, what was your response?

David Thomas: I never expected a “backlash” as such. Really didn’t think there would be anything other than raised-eyebrow questions. There were a few of those but only from young men of a weakened generation. As I expected, women pretty much get it. The only weird reaction was from Toronto. Canada is under the thumb of dozens of human rights commissions which operate outside the law but with the full weight of the law at their disposal. So in Canada most public-exposure agencies and businessmen live in fear of saying anything controversial on any level. The Toronto promoter cut off the title of the album on our concert posters for fear of having the HR Commission come down on them.

DT: Given my admittedly abbreviated knowledge of Pere Ubu, I was surprised when your publicist said that you would be available for interviews. I was always under the impression that you didn’t enjoy interviews or discussing the band’s music. Is that something I was mistaken about, or has your outlook on those things changed over the years ... and if so, why?

Thomas: I have always done interviews. Most journalists are afraid of me because I know more than they do and I’ve been in the business myself as a music journalist and therefore I know when someone doesn’t know anything.

DT: How does living in England these days feed you artistically in a different way than living in Cleveland did? What would be the biggest thing you miss about living in Cleveland, and what’s the one thing about your new home (near Brighton, if I remember correctly?) that you wouldn’t give up for anything?

Thomas: I get nothing from England. My work depends on a deep understanding of culture and its relationship to geography. Geography is a language. A language is only valuable if you can express yourself poetically in that language. I have no understanding of the British geography nor do I have any connection to it so I don’t speak in it or use it. I don’t like England. It’s a nasty, desperate society being driven away and separated from its culture by various social engineering doctrines that are out of control and mentally disturbed.

DT: As the single constant in Pere Ubu’s long and storied history, you’ve played with a number of musicians and bandmates. How does this particular incarnation of Pere Ubu satisfy your creative interests? What is this band doing/capable of doing that’s different from previous lineups?

Thomas: This band is something i’ve worked for a long time to assemble. A rock band that can work under almost any conditions using various media. We are still a devastating rock experience but we can also undertaken live film underscores and more theatrical scenarios. Plus we have no need of rehearsal anymore. Everyone is self-motivated and can adapt very quickly to many different demands. It can do anything I ask of it.

DT: What’s next for Pere Ubu as a band and you as a musician? What’s capturing your interests these days that may wind up on the next Pere Ubu album?

Thomas: We are preparing a two day musical adaptation of Alfred Jarry’s “Ubu Roi” play for the Royal Festival Hall in London at the end of April. The Brothers Quay are preparing a video/film staging for the event. We’ve written 10 new songs for the musical and I have re-written and adapted the texts. Sarah-Jane Morris (Communards, etc) is playing Mere Ubu. I am played Pere and various member of the band are playing minor parts. It’s a major undertaking and a huge production. That is occupying my time at the moment. As well we are continuing our live film underscores for Roger Corman’s “X, The Man With X Ray Eyes.”

DT: Is there a single factor that you attribute to Pere Ubu’s longevity, any one thing that you can put your finger on that’s allowed the band to keep going for all of these years?

Thomas: We have always kept moving. We have avoided repeating ourselves and we aren’t interested in the meanderings of pop culture. The world changes. Pere Ubu doesn’t.