The Modern Dance

Didn’t even get through the first song. If your album opens with tinnitus then go fuck yourself

If I wanted to listen to random noises I would listen to my butt cheeks.

why do i have the best time with the weird albums

One guy on Rate Your Music said this is his favorite album ever. I disavow that.

This sounds like a cross between Hawkwind and Television, albeit some rather twisted, scary versions of both bands. Does that sound like the perfect blend to you? It does to me

Summery: One of the rare albums that's genuinely hard to listen to. Solid bass and drum playing throughout (including some undeniably good bass riffs), but the vocals are consistently garbled and grating. It gets even worse when the vocal harmonies join in. Additionally, the sound effects are really, really annoying. I can see these songs being used to extract information from foreign espionage agents. Non-Alignment Pact: Punk, for sure. Very high drone in the right channel is annoying and unnecessary. Fantastic bassline begins to make itself known, and around 1:30 we get some really solid reduction in texture. The right channel is almost completely unlistenable - like the end of Queen's Sheer Heart Attack (the 1977 song), but for more than 3 minutes. Too irritating for my taste. Modern Dance: The right-channel noise has been replaced by literal static noise (a bit like the sound lava makes in Minecraft when it turns into obsidian), and it's a welcome relief. The song would be much stronger without it, though. Fun vocal back-and-forths, and an overall fast-paced groove. Unfortunately, though, Pere Ubu adds these really unappealing sound effects that make these songs go directly from 3-4 stars to 2 or less. Laughing: I sat through 125 seconds of painful, off-tune intro, before an equally out-of-tune shouting harmony ensued. At 2:50, the thinning of texture was again a welcome relief. Great bassline and decent drumming, but everything else is... not good... At least the ending was tolerable. Street Waves: Easily the best track so far, because it lacks the incredibly grating sound effects that dominates the earlier songs. Another solid bassline that steals the show, and a garbled, technically unsound vocal that brings the song up several notches as soon as it ceases. Chinese Radiation: It's alright until the loud-crowd section, which is bad. Strange piano-based section at the end that I can't really comment on. Life Stinks: The singing is actually pretty funny here. However, whatever's happening at around 0:55 is unacceptable. Real World: Pretty good, actually. Fairly nondescript. The singing is very weak. Over My Head: Floyd-esque whale noises, but the comparison ends there. The singing is okay, particularly the backup vocals (they're especially okay). Nice and chill. Sentimental Journey: The breaking glass probably means something. I wonder if it's a result of the vocal performance. Lots of nonsensical noises here, again reminding me of some early experimental rock piece by Pink Floyd (think Several Species from Ummagumma) or possibly Revolution 9. Not fun. Humor Me: At this point, you'd have to give me a Bohemian Rhapsody or Stairway to Heaven to bring this album up from 1 star to 2 stars, and this song wasn't either of those. It was pretty good though, especially the bassline. Good guitar playing, but whatever effect was used on it doesn't fit the song well (too much distortion). A decent ending to an indecent album.

bro why is this on the list

Really dug this. It's got a raw, punk rock vibe to it.

Ground zero for postpunk. The avant garage. The beauty of Cleveland pressed into vinyl... A band I'd probably have never got into, except for reading Rip It Up and Start Again, Simon Reynolds amazing book on postpunk 78-84. I hear it very differently now. Not a perfect album, but the highs are totally exhilarating. 4.5*

An absolute assault on the senses! My ears feel like they’re bleeding. Pure trash, throw it in the bin! Zero stars - dont rizz me, dont come by ohio, we’re done!!

This is SO weird, but I LOVE IT.

I've got no language for Pere Ubu's early genus. No positive language, at least, which made the trip from second to first release a search for flaws. I suppose there are plenty: It's a rough album, deliberately spiky at all kinds of levels. But breaking glass fills the brain-space prepared for it more than perfectly. I'm no dancer, so even the title is appropriate. Glad there are several more hours of this somewhere out there.

Sounds like a bunch of children were let loose with instruments and a sound effect machine. And to top it off you have the mumbling and random shouting which sounds like someone on a drug binge. Couldn't distinguish any of the songs from eachother. 36 mins of assault to my ears Don't listen with headphones - save yourself from the offensive screeches. The worst song for me was "Sentimental Journey" - what I imagine the inside of a microwave sounds like. Also includes birds/clown horn and bottles being smashed repeatedly. Lyrics include - " Table. Chairs. TV. Books. Other stuff". To the 5 (!!!) writers who wrote those lyrics - I hope you didn't give up the day job Terrible 1 ⭐️ but wish I could give it less

Discordant at times, feels like it's going to lose control then finds it right back. Awesome album, undeniable energy and a pace you can't help but want to match.

Back when I were young, in the mid 80s, it was hard to track down truly left-of-centre music. Here in Australia, it meant listening to Triple J late at night on the off chance they played something really out-there and then haunting stores like Red Eye Records to see if you could find vinyl, hopefully without getting gouged for expensive imports. (I once made the naive mistake of buying a pricey imported Canadian edition of a Severed Heads album, not realizing that they were, in fact, a Sydney band and there were much more reasonably priced local pressings to be had). That is how, for instance, I discovered The Residents, who I think could be considered in the same sphere as Pere Ubu. Their 13th Anniversary Show Live in Japan album was briefly available as a cheap local pressing on AIM, so I snapped it up and spun it obsessively for at least a year. I loved it, partly because it was so hard to find these things. It was exciting to be challenged by music in that kind of way. I can imagine that I might have had a similar relationship with Pere Ubu if I had access to this record when I was 15. I have certainly read a lot about them; Simon Reynolds is almost hagiographic in his description of the band, especially their early years, in his wonderful survey of postpunk 1978-1984 'Rip It Up and Start Again' (highly recommended). On paper, this should be right up my alley; abstract, intellectual, industrial postpunk, with weird noises and a rhythm section described as "the tank side". But Reynolds quotes Dave Thomas as saying "I was totally obsessed with the abstract", and cites the massive influence of Captain Beefheart, although studiously avoiding any blues elements at all (which, frankly, are the best bits of Beefheart). The result is, often, an unfocussed mess, more idea than execution. There are a handful of strong songs on the record (Non-alignment Pact, Modern Dance, Street Waves) that I quite like. I would totally dig an EP of songs like that. But many of the tracks are more interesting in the concept than the actual listening experience. It doesn't help that Dave Thomas can really only sing one melody, which gets tedious as we move into the second half stretch. So, 2.5 stars for having a few good songs (which certainly makes this better than Dub Housing, which doesn't have any). But I'm rounding down, because I'm cranky. Maybe if I'd spun this obsessively when I was a teenager, I'd love this, but these days I just don't have the time and energy.

40 minutes of goofy caterwauling

willfully ugly

Discarding all sense of musical conventions reminds me of both the fall and the minutemen but with less of an effort to make musical sense. Anti music Don’t take the brown acid, man. It’s “challenge music.” Side effects may include writer’s block, delusions of postmodernism, man’s inhumanity to man, and improper comparisons to abstract art.

One of my favorite albums. Probably listened to hundreds of times. The tunes, the sounds, the pacing...all excellently conceived and executed out of the cultural cave that is Cleveland. Gets to places no other record does. Years after I got into this album I saw the 1973 Terrence Malik film "Badlands" (w/ Sissy Spacek and Martin Sheen) and recognized that the dialogue must have inspired some of this album's lyrics, specifically "my baby says that when the devil comes, shoot him with a gun."

I can imagine this will be a pretty devisive album. For money - this is as much a piece art - a true display of intention and expression - as anything I have heard on this list. Garage-prog, art punk. There are songs that feel like the could be talking heads that then veer in a wildly different direction. Kids music not for kids. There is real raw email under the chaos. And the bass lines. A one of one band for sure.

Very wild and eccentric post-punky, ridiculously influential

Ooh, this is great - a bit more accessible than "Dub Housing", I think, but, you know, still not _that_ accessible. I was entertained, while listening, by trying to come up with similes for what I was hearing. "They're like The B-52's on a bad batch of meth!" "It's like the Pixies, but they fucking hate you!" I was thinking 4 stars, but I wanted to play it again immediately after after my second play through finished, so that, plus the broken glass sound effects rounds it up to 5! Fave tracks - any of the first 3 tracks, "Real World", "Sentimental Journey", I like the lot!

I love the garage intellectual blend that happened in the mid to late 70s, where you've got Pere Ubu chanting "merdre" from Ubu Roi and Patti Smith singing "go Rimbaud" instead of "go Johnny go" Pretentious? Don't know, don't care, I'm a sucker for it, even if I do think "Sentimental Journey" might have gone on a little long.

More cranky, hanky stuff like Dub Housing, but it feels slightly more like organised chaos here. In some senses, that's great, this album has ten actual songs, but on the other hand, I quite liked the terrifying unpredictability of the former. In short, both are great, the people low balling this just want everything in varying shades of grey and beige.

I hear a lot of fantastic later bands in this record, and the best parts have this sublime controlled hysteria to them, but I have owned this record for over ten years and never feel like putting it on. A great three out of five record!

I really wanted to like this, as I know the "hits"; unfortunately it starts with two absolute bangers and then - nothing much else happens. My eldest thinks Thomas sings like Peter Griffin. Was hoping for more Gang-of-Four-like action and less obtuse weirdness. Gotta appreciate the history, however

3.5 stars. Started off great for being pretty out there. But second half faded and got too harsh. Standout is "Non-Alignment Pact".

Wow! The album started out with a long annoying sound and managed to sustain that thru several tracks. Points of brilliance but nothing I will need to endure again

Best Song: Life Stinks. The one song that was appreciably punk. Worst Song: Non-Alignment. Who decides to kick off an album with such an insufferable noise? "Hey, you know how we should start the album? How about a metro train screeching into the station, but worse?" Overall: Not every obnoxious art project is accidentally great art. This is mostly just directionless, uninspired nonsense. I bet they had fun making the album, and I love that for them, but it sure isn't fun to listen to.

LOVE this! I don't know why I always heard the name Pere Ubu and thought they were a crappy Pet Shop Boys clone. This album has a great post-punk sound with a LOT of artsy experimentation. Really fun first listen, that inspires replaying for sure.

This was weird and fun. Don’t even recognize the name of this band. Contemporary with punk, but ahead of their time - sounds more post punk like Talking Heads, early Modest Mouse, or, more modern, Parquet Courts. I love this stuff. Clean guitars, bass high in the mix. Messy and noisy, but finds a way to keep the wheels on - until the last few songs I suppose. Maybe a little too arty for me to return to super regularly or to play around the house, but it was great for a couple of spins with headphones on. Highlights for me are Chinese Radiation, Street Waves, and Over My Head. Great as a complete album piece. Also, newcomer Frank 2/Fascist Frank found this amazing rule book the band/collective wrote: https://www.ubuprojex.com/facts/uburules.html

First time listening to a Pere Ubu album. I was anticipating something more off-putting, though way more avant guard than expected. Great album. Another reminder that I really like a lot of what would be considered strange music.

Every post punk, new wave, no wave band that followed owes this album a debt of gratitude. Not everyones taste and jarring at times but influential and important

A FAVORITE OF MINE! Been a huge Pere Ubu fan even before starting this, so was absolutely THRILLED to see their debut pop up here! One of my favorite underappreciated “weird” bands of all time, and their debut is still one of their best to this day. Noisy punk crossed with abstract experimentation all rolled up into an album of absolute perfection. Long live Pere Ubu!!

great punk sound

I almost want to give this album 5 stars, not because it *is* a 5-star album, but because it's so weird and unique that I don't want to forget it (hard as it is to imagine forgetting such a thing). It's like a wacky version of Television channeling future Mr. Bungle or something. I could've done without the tinnitus at the beginnig, or the glass breaking monotony towards the end, but otherwise this is a fun, challenging record.

Reading the reviews here, you’d think this was a Merzbow record or something. Sure, The Modern Dance is experimental and discordant art-punk, but it’s not so far removed from traditional rock music that you’re listening to blaring sheets of pink and white noise. It’s not a record I’ll find myself searching out often, but I’ll tell you this much: Albums like this one continue to be a welcome reprieve from the dozens of 90’s Britpop records on the list that all sound exactly the same. At least The Modern Dance offers a sense of unpredictability and individuality. That’s more than can be said for *a lot* of the records on the list.

I'm not sure I can say I enjoyed this album, but I really appreciate it that this project tuned me into the weird world of Pere Ubu and its avant-garage. (I'd rate this album up there with Laibach, Deerhunter, and John Martyn as a band and music-style that was completely unexpected and deceptively original.) It's hard to say that any of the tracks are favorites of mine, although "Laughing" and"Real world" kind of stuck in my brain for a while, and nearly all of the song titles are intriguing, even when the song itself didn't live up to its potential (here's looking at you "Sentimental journey"). David Thomas' voice is pretty distinctive, and the Allen Ravenstine's keyboard/synthesizer effects are equally odd and memorable (definitely contributing to the "avant" part of their garage). If nothing else, this album seems waaay ahead of its time musically, although I'm not sure there are many other bands or albums that ever really sounded like this, past or present. Thanks, 1001 Albums! (And thanks too for a nice review of the album, as Wikipedia's entry is abysmally terse and unhelpful.)

Once again, Pere Ubu shows up for me with another banger that I didn't know of. The Post-punk era has genuinely produced some of the best music of our time and The Modern Dance continues the trend. 4/5

I liked this more with each subsequent listen. Non-Alignment Pact, Modern Dance, and Street Waves are excellent. Recorder-sounding intro to Laughing takes me back to elementary school music class. Gang of Four, Joy Division, Pixies, Husker Du, Ween - I hear it all in Pere Ubu. This album is punk as fuck. *Added to library and shared with people who give a fuck about music.*

A weird and noisy rock album that often hits all the right chords. The opener; Non-Alignment Pact is simply an amazing song. Straight ahead rock that chugs alog with a fierce momentum that bores into your brain and stays there. But the fun doesn't stop there; the whole first half of the album is amazing. Things get a little noisier and experimental in the second half but no less compelling. Great album 4.5 stars

This is an absolute classic that should not be missing from any post-punk/wave collection. These are excellent musicians: wonderfully hectic music, avant-garde with lots of crazy sounds, distorted synths and sax, and hysterical vocals. You have to have strong nerves because otherwise, you won't make it to the end of this album.

I'd callt hem experimental punk. I didn't know about them, they are not great musician, but they know how to twist your mind.

Never heard of these guys before this project. Great stuff - the more I hear it the better it gets! Standouts: The Modern Dance, Real World, Humor Me, Non-Alignment Pact, Laughing, Life Stinks, Over My Head, Sentimental Journey. 4/5

There's a lot to digest here. Not the most listenable album, but definitely worth listening to for the ideas and imagery it spontaneously generates.

Rating: 7/10 Best songs: Modern dance

This has a post-apocalyptic feeling to it. Like any minute, there’s gonna be slow moving zombies staggering about. I don’t hate it! The song with the reed instruments bellowing like dying geese?I couldn’t help but chuckle. There was 2 straight minutes of that! Fully committed. There are moments where it’s right in the pocket and it cooks. And then it’ll abruptly pivot to some chaos, making you long for that pocket moment again. I guess that’s their trick. 2.8

oh. no

If I’m going to listen to this type of genre, I’d lean more Throbbing Gristle or Psychic TV. I did enjoy how irritated a friend got in my car as they finally asked about the glasses smashing in the background.

The hype around Pere Ubu among the punk/alternative community at the time was real, but I missed the point, whatever it was. I’ve just given the album about three spins & I can see a bit more clearly why it had the reputation it gained at the time. But it’s still not my bag. The first two trax sound like the same track to me & they set a chaotic course that rarely varies. Life Stinks may be amusing, but it reminds me too much of Captain Beefheart at his least accessible. Interestingly, there are so many times on the album that, to me, Thomas’s voice sounds very much like early David Byrne (Real World; Humour Me). I went online to see if this was a common belief & debate certainly rages about who influenced who. I’d say the difference between the bands was that Talking Heads had melodies & Pere Ubu generally did not. With another dozen listens I might get used to this album, but that ain’t gonna happen.

Couldn't finish for some reason

Pre-listening thoughts: I've had the misfortune of already listening to another of their albums on this list - Dub Housing - which was awful. I wonder if this will be more of the same... Track 1: Wow, this is actually not bad. The vocals are grating, as I was expecting, which does take away something from the track, but musically it's quite good. Track 2: This sounds a lot like track 1, in fact, I'll just double-check it is actually a different track. Yes, it is. It's not as good as track 1 , but no need to turn it off. Track 3: What the fuck is this? Is that a chicken screaming? No, I don;t think it is, but it's clearly someone that doesn't know how to play whatever instrument that is. Ok, we're 2 mins in and it's finally got going.... oh shit, I'm beginning to miss the strangled chicken sound. This is bad! Track 4: Slightly better, at least we're back to being just about listenable. Track 5: Another track that takes an age to get going, and is utter tosh to boot! Track 6: Fuck me, this bloke doing the vocals is off his fucking nut. It also sounds like, somewhere in the backing vocals, the chicken from Track 3 has managed to get back into the studio. Track 7: It's gone tits up again. Really fucking bad track. Skipping to the next one. Track 8: I had to keep checking I hadn't clicked mute. Fuck all happens for the first minute, then it sounds like an orchestra in the theatre warming up, badly! Track 9: They're not even trying now. I can't believe people bought this album. The best piece of music in this track was the smashing of glass near the beginning. Track 10: Dismal. I made it all the way through, which by my own self-imposed rules means 2 stars. I skipped quite a few tracks though, and a lot of the time I continued to listen beyond my usual switching-off point, in a perverse "how bad can this get" way, so it's 1 star only.

The quirky, jagged and unrestrained side of postpunk. Not particularly engaging or impressive, and verges on the downright annoying. Vocals are shaky and incomprehensible, and rest of the instrumentation does not make up for that. Avant-garde sure, but not good. Best Tracks: - Humor Me Worst Tracks: - Sentimental Journey - Laughing Rating: 2/10

OK I hated this. It's like everything terrible about "rock" music jammed into one album. Talented musicians aside, this audible dementia is garbage. Thank all that is holy that the entire absurd mess lasted less than 40 minutes.

I like post punk if it's done in a good manner. This really hurt my eardrum. Literally. I had tinnitus the whole day, and it's still going.

In the name of all that is holy, how did this end up on a list of 1001 albums that must be heard. Incoherent lyrics, random noises, and irritating vocals. I just don't get it...

I had to listen to this and drive like jehu back to back and robert wyatt oy 2 days before. Someone is messing with me. Give me my time back. Just cause it's different, doesn't make or good.

Good god, what the hell was that?

Ugh

Modern? Experimental? Art? Garbage? Yes to all

## In-Depth Review: *The Modern Dance* by Pere Ubu Pere Ubu’s *The Modern Dance* (1978) stands as a landmark in the development of post-punk and experimental rock, a record that remains as jarring and radical today as it was upon release. Below is a comprehensive review focusing on the album’s lyrics, music, production, themes, and influence, with a balanced look at its strengths and weaknesses. --- ## **Lyrics** *The Modern Dance*’s lyrics are a surrealist blend of absurdity, urban alienation, and dark humor, drawing inspiration from Alfred Jarry’s *Ubu Roi* and the Dadaist tradition. David Thomas, the band’s frontman, delivers lines that oscillate between the cryptic and the deeply personal, often resembling the diary entries of a tortured soul. The lyrics rarely follow conventional storytelling, instead evoking fragmented images and emotions: - In “Non-Alignment Pact,” Thomas sings, “I want to make a deal with you girl / Get it signed by the heads of state,” juxtaposing personal relationships with Cold War politics, reflecting both paranoia and absurdity[1]. - “The Modern Dance” and “Laughing” offer lines like “If the devil comes / We’ll shoot him with a gun,” blending existential dread with black comedy[1]. - “Life Stinks” is a two-minute outburst of nihilism, its title and refrain capturing the bleakness and absurdity of modern existence[1][4]. The lyrics are intentionally obtuse, often bordering on nonsense, but this is a deliberate artistic choice, mirroring the confusion and chaos of late-70s urban America. Thomas’s delivery—sometimes manic, sometimes muttered—amplifies the sense of instability and anxiety that pervades the album[2]. --- ## **Music** Musically, *The Modern Dance* is a volatile collision of punk energy, avant-garde experimentation, and proto-industrial soundscapes. The album’s sonic palette is defined by: - **Guitars and Bass**: Tom Herman’s guitar work alternates between jagged, atonal riffs and bursts of noise, while the bass (often played by Tony Maimone) is prominent in the mix, providing a driving, sometimes doom-laden foundation[4]. - **Synthesizers**: Allen Ravenstine’s analog synths are central to the album’s identity. Rather than playing melodies, Ravenstine manipulates his EML 101 and 200 synthesizers to produce whooshes, static, and eerie radio-like effects, functioning more as a sound sculptor than a traditional keyboardist[2]. - **Drums**: Scott Krauss’s drumming is tight but unpredictable, shifting from motorik grooves to arrhythmic bursts, supporting the album’s sense of organized chaos[4]. - **Vocals**: Thomas’s vocals are unique—wailing, muttering, and sometimes multi-tracked, they add to the album’s sense of unease and unpredictability[2][3]. Tracks like “Non-Alignment Pact” and “Street Waves” have a proto-new wave strut, while “Chinese Radiation” and “Sentimental Journey” push into experimental territory, with musique concrète elements and extended passages of noise and found sound[2][4]. --- ## **Production** Recorded and mixed in just two weeks by veteran engineer Ken Hamann, the album’s production is raw yet meticulous. Hamann’s approach was to capture the band’s live energy while allowing for studio experimentation: - **Mixing**: The mix is deliberately unpolished, with instruments sometimes clashing or bleeding into each other, enhancing the sense of chaos and immediacy. - **Sound Effects**: The use of feedback, static, and tape manipulation is prominent, especially in tracks like “Sentimental Journey,” which features six minutes of moans and glass breaking[1][2]. - **Vocals**: Thomas’s vocals were recorded “carefully, sometimes phrase by phrase,” contributing to their nervy, fragmented quality[2]. The result is an album that feels both spontaneous and carefully constructed, with a sonic landscape that is as abrasive as it is compelling. --- ## **Themes** *The Modern Dance* is thematically dense, exploring: - **Alienation and Madness**: The album is a soundtrack to urban alienation, capturing the anxiety and dislocation of life in the industrial Midwest during the late 1970s[2]. - **Surrealism and Absurdity**: Drawing from absurdist theater and Dada, the lyrics and music often subvert expectations, embracing nonsense and non-sequiturs as a form of artistic expression[1][2]. - **Rejection of Punk Orthodoxy**: While often grouped with punk, Pere Ubu consciously rejected punk’s simplicity, instead opting for a more experimental, avant-garde approach that blurred the lines between rock, noise, and performance art[2][3]. - **Dark Humor**: There is a thread of black comedy throughout, with Thomas’s delivery and the band’s willingness to embrace the ridiculous providing moments of levity amid the darkness[1][2]. --- ## **Influence** *The Modern Dance* is widely recognized as a foundational work in post-punk, influencing countless bands and genres: - **Post-Punk and No Wave**: The album’s blend of punk aggression and avant-garde experimentation paved the way for bands like Sonic Youth, Talking Heads, and Gang of Four[2][3][4]. - **Alternative and Indie Rock**: Its willingness to sacrifice melody for jagged artistry and its embrace of noise and dissonance can be heard in later acts like Pavement, Modest Mouse, and Parquet Courts[4]. - **Critical Reception**: Though a commercial flop, the album was a critical success, with Robert Christgau noting that “the highs are worth it,” and Rolling Stone calling it “vivid and exhilarating, even if harsh and willfully ugly”[4]. - **Legacy**: Without *The Modern Dance*, much of the more esoteric rock music recorded in the decades since would have remained unheard. The album is frequently cited in lists of the greatest and most influential records of the 1970s[3][4]. --- ## **Pros and Cons** | Pros | Cons | |------|------| | Groundbreaking fusion of punk, avant-garde, and experimental rock[2][3] | Can be abrasive and difficult to listen to for some[4] | | Innovative use of synthesizers and sound effects[2] | Vocals are often garbled and grating, alienating casual listeners[4] | | Lyrically rich, blending absurdism, humor, and existential dread[1][2] | Some tracks meander or feel self-indulgent (“Sentimental Journey”)[1][4] | | Captures a unique sense of urban alienation and madness[2] | Sacrifices melody for artistry, which can limit replay value[3][4] | | Highly influential, shaping post-punk and alternative music[2][3][4] | The experimental second half may lose momentum for some listeners[4] | | Raw, energetic production that enhances the album’s impact[2] | Not a commercial record; its appeal is mostly to fans of experimental music[4] | --- ## **Conclusion** *The Modern Dance* by Pere Ubu is not just an album; it is a statement of intent, a radical reimagining of what rock music could be at the dawn of the post-punk era. Its combination of surreal lyrics, abrasive yet compelling music, raw production, and thematic depth make it a challenging but deeply rewarding listen for those willing to engage with its strangeness. While its abrasive sound and experimental tendencies may alienate some, its influence on the shape of alternative and experimental rock is undeniable. For listeners seeking to understand the evolution of post-punk and the possibilities of rock as art, *The Modern Dance* is essential listening—an album that remains, decades later, as unsettling, innovative, and vital as ever.

An unruly chaos that, at the same time, sounds regimented and orderly, Pere Ubu's Modern Dance sounds above, beyond and against its time with its stabs, shrieks and yelps; doing everything it can to be inaccessible whilst being uneasily reachable. There can be many students for this kind of thing, but the teacher has long left the classroom.

Kind of wild how a lot of the great, most interesting albums on this list have low ratings. This is infinitely better than the dross dished out by Springsteen, Dylan, etc. that seem to always have high ratings here. 4.5/5.0: Excellent

rammelende muziek, raar zangstemmetje, vreemde tempos... dat is smullen smullen smullen

It was a mistake to not give Dub Housing a 5, and I’m making up for it now (although I think this one is also a 5 in its own right, if not a rounded up 4.5). These guys are aggressively weird in a way that most bands on this list would never dream of, and they still manage to let some really nice and interesting actual musical stuff slip through. Good shit.

I would give this 4.5 stars for being so powerful, a great mix of styles, and very original and brilliant in so many ways - but I do think it lacks the final push to a truly 5 star album. However, I'll give it 5 stars here, since we can't give half stars. I've heard of this band before but never really listened to them or listened to this record, and this will definitely become a part of my digital collection and rotation!

So weird and stimulating

What a great example of the adventurousness and innovation of early punk rock, especially early Midwest punk rock. Catchy and eccentric, I can't get enough of this LP or the following Pere Ubu album, Dub Housing. Highly recommended.

Ovo je vojkecu jedan od najdražih albuma. Slušam ga redovito skoro trideset godina

This is very much my thing - probably shouldn't be 5 stars because of 'Sentimental Journey', but I really really liked this one.

if u give this less than 3 stars u a bitch

Nice, ei harmittanu kuulla.

8.5/10. This is so weird and unsettling. I love it!!! :)

This was a genuine, real surprise. I love this crazy surreal, Meshuggah.

yes

Man, this is why I keep doing this project. What a cool album that I probably never would have listened to otherwise. You all have no taste.

Timeless Pere Ubu record and one of the best albums ever made in every sense; consistent high-quality song-writing and I especially like that the music is both experimental and, at the same time, highly accessible. A clear 10/10 album for me.

W sumie to bardzo dobre. Trochę surowe instrumenty, dużo mocy, ale też spokojniejsze fragmenty. 5/5

This has everything. Punk energy, strange noises, sing(shout)along bits and some brilliant basslines. And Thomas' voice just sets it all off. This must have been quite the thing in 1978, and it still sounds great now.

Sentimental Journey and Humor Me sound like Tim Heidecker and I love it. I wasn't sure about this album, it opens with quite possibly the worst tonal sound I've heard, but after that, I love everything about this album.

My kind of chaos

A very potent, angry sound; almost a sonic cross between the romantic instrumentation of Roxy Music and the bombast and nasal tone of the Jello-led Dead Kennedys. Musically it reminds one of the frustration of the excess of the disco era, music about the reality of hip, disaffected young people away from the gloss of pop. Magnificent.

Fuck yes.

nice

woah. pere ubu is a name i've always seen at record stores but i've never listened to them before. i had no idea what to expect. holy shit does this stuff rock. i'm kind of floored. it's very noisy, a bit unconventional in that sense, a lot of atypical instrumental choices (noise, an instrument i am learning is called the 'musette') but juxtaposed with that is some killer rock. really really cool stuff!

This album was released the same year as 'Dub Housing,' and album I have already reviewed. Much of what I said for that album applies here. If any band deserves to be called art punk, it's this one. This album is dynamically varied, and utilizes noise well. Despite its chaos, it is very carefully constructed and skillfully executed.

Unfiltered master piece. A collection of great punk songs that became legendary. Great album!

Ahh my old pal/nemesis Pere Ubu - my first experience of what can only be described as headache inducing euphoric psychosis was back at the start of this project. This is slightly more accessible but still fucking way out there man. It's made me surprisingly tempted to go back and listen to Dub Housing again (a task I swore I would never willingly subject myself to after my first listen) to understand where the differences between the two lay. I think the accessibility of this one comes from the fact that although it's still rife with seemingly non-sensical horn and synth key bashing, each track ultimately opens up into pretty strong, pretty funky post punkesque riffs - something which I seem to remember Dub Housing definitely not doing. Okie dokie have just got to Life Stinks and they are back to their old tricks again and I love it. They are definitely going down as one of the most interesting finds within 1001 and I am super glad they snuck two albums in, have really enjoyed the point of comparison. I've mentioned before that Post Punk is my favourite genre and I think it could be argued that these guys (along with Talking Heads, Devo etc) are probably responsible for the genre as we know it. ALL HAIL PERE UBU

Avant- garde punk. Some songs are great and hit hard. Others I wouldn’t listen to unless I were in the mood for experimental sounds. Classic album though.

A really great record! I never listened to it before but it is flawless in my opinion.

innovative

10/10 Pere Ubu has quickly become one of my favorite post-punk bands their stuff is incredible

If David Byrne had gone his own way from Talking Heads a few years earlier... I really liked this. On another day it might not have hit so well, but that's music.

7/10 Very strange and very fun Post-Punk album, you could tell this left a gigantic crater in Experimental Rock as a genre shoutout Ohio

i dig it, its weird

4.5

Noisy, experimental post-punk is exactly what I signed up for! Favourite tracks: Laughing, Over My Head, Sentimental Journey, Humor Me

this album is cursed. ive tried to listen to it on three separate occasions and each time i was repeatedly interrupted. i felt like this is an album that really needs a full uninterrupted listen to appreciate it but alas i dont think that will happen. it has a lot of interesting things going on. im not sure if i like all of them but overall pretty enjoyable

There’s an engaging tension throughout between Pere Ubu presenting songs in the classic form and jagged jabs of uncontrolled energy and noise. The vocals have a compelling, anxious unpredictability that goes beyond post-punk’s typical form of expression. They can screech and yelp and laugh and lurch to places well beyond a conventional approach. It’s playful, artful music which is willing to stretch and contort itself. You can’t make music that engages in sound collage, or performance art that intentionally uses repetitive, monotonous, and unsettling elements, without people calling it pretentious. Ultimately whether this is pretentious to someone or not is just down to that gut reaction - did you enjoy it? I personally love it and love what it does to my brain. It makes me feel like I’m being turned inside out.

I bet these guys were wild live. Their singer is huge and it would have been very fun to see that voice come out of that body. I listened to the song Modern Dance a lot a couple years ago, but never dug deeper. I liked going back to the whole album. I wouldn't re-listen to every song, but I always enjoy that brand of weirdo Gen X punk adjacent music. Album cover: (B)