#pere ubu film unit

[post-punk-author-anthony-day]

https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=CDAqaYS7T6yaSc5nv72I9w 400 hours! 6000 Trax ! 1000s of bands ! ALL SUBGENRES (DARKWAVE, COLDWAVE, NOISE ROCK, CRANKWAVE, EGG PUNK, GOTHIC PUNK, SOVIET WAVE, ART PUNK) 

INCLUDES 70S (Pere Ubu, Magazine, Gang of four, Television, Talking Heads,  Martin Rev and Alan Vega, James Chance, Essential Logic, Siouxsie Sioux, Killing Joke, Public Image LTD, Devo, Nick Cave, The Boys Next Door, The Pop Group, The Clash, The Cure, The Smiths & THE FALL, The Slits and The Raincoats

80s New Wave (Simple Minds, New Order, Dead Can Dance, Kitchens of Distinction, Jesus and Mary Chain, XTC, The Opposition, ESG, Units, Red Lorry Yellow Lorry, The Chameleons, Echo and the Bunnymen, ESG, Glaxo Babies, The Feelies, The Essence, A Certain Ratio, Mission to Burma, The Minutemen, Nick Cave , Bad Seeds and The Birthday Party, little Nemo, The Sound, The Wake, Section 25, JOSEF K, Orange Juice, Sugarcubes, Chrome, Method Actors

Goth -  Death in June, March Violets, Clan of Xymox, Christian Death, Southern Death Cult, Sisters of Mercy, Drab Majesty, Tropic of Cancer, 13th Chime, And Also the Trees, 

No Wave (Ice age, Sonic Youth) 

Darkwave - IAMTheShadow, this cold night, Tropic of Cancer, Nation of Language, Ritual Howls, A Projection, Topographies, Siglo XX, Bolshoi, Lust for Youth, VR Sex, A place to bury strangers 

SOVIET WAVE (Ploho, Manicure, Buerak, Molchat Doma, Utro, peremotka, Motorama, Serpien, Bitchevsky Park, nürnberg, Super Besse 

& 

#PostPunk2K

Courting, Black Midi, Bambara, Vundabar, Squid, Viagra Boys, Fontaines DC, Black Country New Road, Goat Girl, Warpaint, TV Priest, Theeosees, the drums, Egyptian Blue, Preoccupations, Protomartyr, Have a Nice Life, Automatic, Soviet Soviet, Human Tetris, Iceage, Film School, Ought, The Murder Capital, White Lies, Interpol, Editors, Yeah Yeah Yeahs, Fufanu, The Serfs, No Age, Hologramsl

[sinceileftyoublog]

Pere Ubu Interview: Weave It Together

BY JORDAN MAINZER

When I ask Pere Ubu’s David Thomas whether we have any time limitations during our interview, he responds, “No. As long as you don’t get boring, we’re good.” It’s safe to say he takes the same approach to making music. In recording their latest record 20 Years in a Montana Missile Silo, Thomas intentionally prevented the various band members from communicating after presenting them with the base songs. They’d go in separate rooms and only concentrate on what he calls “the integrity of the song” instead of playing off of each other during the recording sessions. While the results on paper may seem like chaos, the album, like any Pere Ubu record, is strange, flawed, and at times, brilliant. But it certainly isn’t chaos.

Distance isn’t new or challenging for Thomas. He moved from Cleveland to London over 30 years ago, eventually settling in Brighton, about an hour south on the coast. More importantly, however, the current incarnation of Pere Ubu--9 members on the album, 6 on tour--have been playing for so long and are such capable musicians that, around the time of our conversation two weeks ago, Thomas couldn’t have been less concerned about how the band is going to adapt the new songs on their upcoming “The MonkeyNet Tour.” “We generally don’t play the hard ones,” Thomas told me. “They take too much rehearsing.”

During our conversation, Thomas broke down various songs on the new record. He also talked about the central themes and characters of the album, the various box sets the band has released over the past few years, and why he wants to “fix” classical music. Read it below, edited for length and clarity, and catch Pere Ubu at the Beat Kitchen on November 18th [tickets can be purchased here.]

Since I Left You: What makes 20 Years in a Montana Missile Silo unique as compared to past Pere Ubu records?

David Thomas: Well, most Pere Ubu records are unique in some way, which isn’t much of an answer. Every record, I start off with a different production method. I determine very early on how I’m gonna do it. That usually reflects what I want to do--the ideas that go on with it. This one, as I’ve said, I used a variation of the development of the Chinese whispers method called “the dark room.” It’s frequent with Pere Ubu records, certainly of the recent years. I try to minimize the influence of any musicians. Alfred Hitchcock once said, “The worst thing about making films is the actors. They ruin it.” I kind of feel that way about music. The worst thing about making music is the musicians. They ruin it. It’s a natural behavior to try to accommodate other people in your group. The guitar player has an idea, and the bass player wants to go along with it, and the drummer too. I don’t want people going along with people. At least certainly on this record. 

I want people to concentrate on the integrity and meaning of the song. One way you do that is to not have any communication going on between the musicians, for them to know as little as possible about what anyone else is doing or thinking. A song usually starts as an idea that one person plays, or I edit something together that one person plays. I encourage them to start working on it and do everything I can to prevent them from talking and cooperating with each other. They concentrate on the song--what it means. Everybody has a different view. My job is to weave it all together.

SILY: Why did you name this upcoming tour after the opening track on the new record?

DT: It isn’t really named after it, but it’s sort of a development of that idea. But why? [laughs] Why?!? Because! With any Pere Ubu creation, there’s a lot of different answers to the question “Why?” None of which I’m going to explain. Any Pere Ubu creation, there are a number of layers. I would venture to say at least five layers to everything we do. One of those layers is saying the absolute opposite of what you think the point is. The other layers are irrelevant to the narrative layer. That’s the way Pere Ubu songs have been since the beginning. They’re very complex. They’re a riddle. It’s not like listening to something on the pop radio, “Baby, baby,” sort of nonsense. You’re supposed to be encouraged to ask, “What the hell does this mean? Why is that sound in there? Why is the singer doing this instead of what he should be doing?” There’s a reason. We don’t arbitrarily throw things together.

SILY: But you generally prefer to keep the reasons for doing things layered.

DT: I’m not gonna explain what we do. There’s no point to doing it if you can explain it so easily. The next point is, which layer do you want me to explain? None of them on their own necessarily make sense or give you the complete picture. It’s not like asking Picasso why he uses so much orange. What do you mean, “Why?”

SILY: How did you decide upon the sequencing of tracks from this album?

DT: I told my manager to do it. I’m terrible at sequencing things. Anybody in the band, I know the songs better, for obvious reasons, because I’m the lyric writer and producer. I said to her, “You sequence it.” She had some ideas. There was a period I would run everything in alphabetical order. Everybody liked it the same as when I would slave for hours over it. 

SILY: Some of the standout tracks on the album are the slower burners like “The Healer” and “Plan From Frag 9″. What’s the story of the composition of those tracks?

DT: Those two particular tracks came together in very opposite ways. “The Healer” is essentially the same now as the demo I first heard. There are a few bits and pieces I refined, but it’s basically as it was presented to me. I knew immediately what I was going to do with it, and I knew it was going to be called “The Healer”. I just turned the machine on and started singing. I realized I screwed up the entry to the chorus, so I went back and re-cut the choruses. That’s it. One take. No thinking about it, no doing anything.

“Plan For Frag 9″ was the opposite. [Theremin and analog synth player] Robert [Wheeler] had recorded hours upon hours upon hours of synthesizer stuff. I sat there and listened through it all. I picked out the ones I thought I could make something from. What I could take I chopped it up and put it in line, and the drummer came in and did an astonishing job of making sure there was a sort of rhythm to it. It was pieced together. That was a real labor. Hours and hours just to get the synth track chosen. Hence the title: The pieces I pulled out, I just named them, “Frag 1″, “Frag 2″, “Frag 3″.

SILY: Do you have a favorite song on the album?

DT: I don’t know, do you have a favorite child? I like “The Healer” a lot, I like “Cold Sweat” a lot, I like “Red Eye Blues” a lot. I like them all--there’s nothing on there I cringe at or hang my head and bemoan.

SILY: “Cold Sweat” seems more melancholy than the rest of the record.

DT: It’s a melancholy sort of song. I was going for what exactly is there. There’s one line in it that women always find funny and laugh at, but men just go, “Huh.” I’m not gonna tell you which one. I knew that would be the case. But yeah, I was going for melancholy. But as with all Pere Ubu songs, it’s not one thing. All Pere Ubu songs are funny. I’d be stressed to think of one that’s not funny on some level. Not in an obvious way.

SILY: “Howl” is very bluesy.

DT: That was fun to do! You can imagine a bit more that than “Healer”. Just turn the machine on...there’s a number of tracks on the album that were just, “Turn the machine on and do it” in addition to the ones where you slave over the damn thing for days. “Monkey Business” was probably a one-take song. I generally get things within three takes, and then I do a fourth take because I’m a professional, but I never use the fourth take.

SILY: Is there anything specific the album title refers to?

DT: I chose that story as sort of the theme story for the album. Usually, on any album, there’s a song that sort of encapsulates the theme, and within that song, there’s a line that crystallizes the theme of everything. I was intrigued by the notion of a fellow who spends 20 years staring at the button to Armageddon and goes home at night. Wife asks him, “How was work today?” He’s gotta be the man that pushes the button, and he’s gotta be the man that deals with his kids and loves his wife. That was just something I wanted to work on. I don’t even know if there are missile silos in Montana. I assumed there were. I should have called it “[20 Years in a] Dakota missile silo,” because I know there are missile silos there. But I figured Montana’s gotta have some.

SILY: How did the album cover art come to be?

DT: It was a pretty brutal experience. In the end, again, my manager stepped in and said, “Here: This is what it should be.” I was intrigued by that photo of the man lying on the cot. I thought it was a Russian missile officer because it was taken at a Russian missile base. But it was actually a Scottish tourist [laughs] who was touring and did a blog on Russian missile bases. I found it moving and poignant--this Russian missile officer lying on the crappy bunk bed, and on the desk next to him is a single hot plate, and he’s waving to the camera, to the kids, to the wife. That’s how it came about.

SILY: Does this character exist in any of the songs on the record?

DT: No. I don’t think so. I don’t know. That sort of doesn’t matter to me. The character is there. It’s sort of a theme character to the record. Or that claustrophobic sense is fundamental to almost all of the songs on the record, which is why I point it out as the theme song. The way I do things, the narrative isn’t point A to point B to point C. Or, guy does this, guy does that. I have an idea, I have a picture, and I write to that idea and that picture.

SILY: How are you adapting these songs live?

DT: No clue. We’ve only done a couple rehearsals with 2-3 people at a time. We’ll go into Cleveland and rehearse for a week. We’ll find out. There is an issue that’s gonna come up. There are 9 people on the record and 6 people on the road. So, you know, as with all Pere Ubu songs, we’ll adapt them and find out how to play them live while doing them justice. It usually works out okay. The band has been together so long and are all of a quality musicianship. Things move pretty rapidly. We’ll play it, and I’ll say, “That doesn’t work.” Then, somebody will play it, and I’ll say, “That’s better!” And someone will say something and we’ll play it again and it will be right, and then all we have to do is remember it.

SILY: Over the past few years, you’ve released a ton of box sets. Do those give you an opportunity to really reflect on what you guys have done?

DT: All that stuff is in my head anyway. I know what I’ve done. But it’s interesting to have them grouped the way they were grouped in the construction of them. The two periods of what we call the classic era, Architecture of Language and the Elitism For The People boxes, are grouped the way we constructed them to be grouped. The Drive, He Said box set, those albums were written as a trilogy with one set of stories. I had always hoped that they could be released together. The Fontana box set, which is coming out early next year, those were all conceived in the same sort of pattern. I’m happy that the albums can be viewed as they were meant to be viewed. Grouped together.

SILY: What’s next?

DT: I don’t know. I’ll figure something out. I always have a five-year plan, a long-term plan of where I want Pere Ubu to go and how I want the musicians to work together. I have a dream of having a 15-piece band--I don’t know why 15--but I’d like to have a big band. I’d like to have an orchestra. Because at some point, I’m going to go back and fix classical music. There are a lot of those guys in the 19th century, you could tell they were anticipating or yearning for the coming of electricity, a technology they could have used and were desperately calling out for and were trying to come up with ways of achieving it. At some point, I’m gonna go fix that for them posthumously. And continue to work on getting more and more people in the band and expanding the potential and the palate and the versatility. We already have three different bands. Pere Ubu, the rock band. The Pere Ubu Moon Unit, almost entirely improvisational, taken over from the Two Pale Boys thing I did. And then the Film Unit does live soundtracks. It kind of becomes whatever I want it to become. It can do just about anything. When it can do everything, then I’ll be happy. 

[lasemainedubizarre]

La Semaine du Bizarre  2019 Du dimanche 1er au samedi 13 décembre 2019

La semaine du Bizarre réaffirme sa particularité suscitant la curiosité d’un public toujours plus large : Des formes artistiques singulières des créations inédites, une programmation élaborée à la manière d’un collage, au gré des rencontres et des propositions de structures amies (theatre, danse, musique , cinema, etc).  Elle renvoie à certaines esthétiques marquantes du 20ème siècle, tout en donnant carte blanche à des artistes contemporains, confirmés ou émergents.

Production Théâtre Municipal Berthelot  - Jean Guerrrin /  Ville de Montreuil.En partenariat avec Les Instants Chavirés, Le Nouveau Théâtre de Montreuil (CDN), Ateliers de Paris CDCN, Danse Dense, Luna Park Films, le Phonomuséum de Paris, Label69.

Le Théâtre Municipal Berthelot - Jean Guerrin - Montreuil   6 Rue Marcellin Berthelot - métro Croix de Chavaux (à 300 mètres) Une salle de 210 places / un espace convivial  / buvette / stands éditeurs indépendants / disquaires /  Dj sets Le théâtre Berthelot a toujours  été lieu d’accueil pour des projets surprenants ou prospectifs, à commence par Georges Méliès avec une pièce en 1923, Le TEM avec Jean Guerrin  et d’innombrables résidences de  créations sonores  et chorégraphiques.

https://www.facebook.com/events/1856860954559974/ Réservations : resa.berthelot@montreuil.fr  01 71 89 26 70 Contact  Patrice Caillet :  patrice.caillet@montreuil.fr  06 17 18 65 78

Artistes accueillis depuis 2012 : PERE UBU Moon Unit (+  Chris Cutler), Joanne Leighton, Elsa Biston et Benjamin Sanz , Dominique Petitgand, Bertrand Lamarche, Violaine Lochu,  Jérôme Poret, Laura Lot, Victor Thimonier, Sandra Abouav, HEIMAT, Black SIFICHI, Bruno Billaudeau, Xavier Mussat,  Bordigaga, Denis Lavant , Anne Ropers, Pascal Comelade, Olivier Brisson, Sophie Agnel et Jérôme Noetinger, Ravi Shardja, Andrea Sitter, Joujou,  Philippe Burin des Roziers, DDAA / déficit des années antérieures, Ensemble Electron, Olivier Benoit, Marius Loris, Les Hôpitaux , Chocolat Billy, Pierre Bastien, Steve Argüelles,  Ghédalia Tazartes, Olivia Grandville, Ivan Argote, Pauline Bastard, Vincent Epplay, Jac Berrocal, Hermine Karagheuz (lecture René Daumal), Jacques Kébadian, Hubertus Biermann, Emmanuelle Parrenin, Harold Schellinx, Dorian Pimpernel,  Le Renard,, Charles Pennequin, Un Drame Musical Instantané, Thierry Weyd, Lubriphikatttor, TG Gondard , Vania Vaneau, La cellule d’intervention Metamkine, Pierre Escot,  Thierry Madiot , Arnaud Rivière, Le TOC theatre, Luis Rego (lecture Roland Topor) , Laurent Di Biase, Le colonel, Jean François Pauvros, Tomoko Sauvage, Michel Giroud, Francesco Cavaliere, Magnetix, Anton Mobin, Gwen Jamois, Quentin Rollet, GOL, Jean Jacques Palix, Marie Pierre Bonniol, Musta Fior, Les Editions PPT / Stembogen, Cactus, Luna Parks Films :  films de  Marcel Marien, Jan Svankmajer, Jean Denis Bonan, Ferdinand Khittl,

Programmation 2019

Dimanche 1er décembre à 20 h - 8 €  

Ghedalia Tazartes / Rhys Chatham   Ce concert marque la deuxième rencontre de deux figures légendaires.  Beaucoup revendiquent un cinéma pour l'oreille, dans cette catégorie, Ghédalia Tazartès est de loin le plus grand de tous. Sa musique assemble des éléments sonores de toutes natures et de toutes provenances ... entre Orient et Occident ou on ne sait où. " (Dominique Grimaud). Rhys Chatham, multi-instrumentiste et compositeur, n'a pas besoin d'être présenté (Theatre of Eternal Music de La Monte Young, Dream Syndicate de Tony Conrad en passant par le poste de direc- teur musical de The Kitchen et la scène de musique expérimentale post-Minimal New Yorkaise  

Musiques Imaginaires  un programme de 8 films réalisé par Marie-Pierre Bonniol autour de l'idée de musiques imaginaires, incarnées, transfor- mées, avec des musiques et morceaux de Pierre Bastien, Asmus Tietchens, Jean-Jacques Palix et Eve Couturier. https://julietippex.com/roster/imaginary

 ..............

Mardi 3 décembre - 20 h 30 - 5 €   " À l'ombre de la canaille bleue "   un film de Pierre Clémenti  France / 1985 / 82' Avec Pierre Clémenti, Jean-Pierre Kalfon, Achmi Gachem, Simon Reggiani… Afin de réprimer une révolution, les autorités de Nécrocity confient les   pouvoirs de police à une bande d'infâmes malfrats. Un polar politique en vers libre, tourné entre 1978 et 1979. "il y a ici quelque chose de William S. Burroughs. Le plus punk et le plus urbain, le plus volontaire- ment en désordre des portraits du Paris de la fin des années 1970 (Philippe Azoury)  Une proposition de Luna Park Films. En présence de Jean-Pierre Kalfon (sous réserve).

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Mercredi 4 décembre - Entrée libre sur réservation   Pneuma-récital  - Sébastien Lespinasse Une expérimentation de la langue poussée à ses limites. Les mots deviennent des signaux, des coups de poing, des déplacements physiques d'ondes. Celui qui parle est parlé par tous les bouts de la machine à dire. Celui qui parle dissout son nom dans les identités intenses de la langue.   

No  mistakes only bad  follow-ups :  Une conférence dansée sur Rachel Rosenthal Créée et interprétée par Nathalie Broizat  Rachel Rosenthal (1926-2015), est une figure clé dans le développement de la performance aux États-Unis. La pièce se concentrera dans un premier temps sur la période des années 50 où elle faisait partie du cercle Cage/Cunningham laissant apparaitre la question de l'identité, du genre et de l'authenticité. Une philoso- phie de la distanciation et de l'ironie est également mise en exergue par le postulat suivant : se prendre au sérieux n'est pas sérieux. Commande du CCN de Caen. Avec le soutien de la Fondation des Etats-Unis, de la Ménagerie de Verre/ Studiolab, du CND/prêts studio. Love Labo est accompagnée par Danse Dense.

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Vendredi 6 décembre à 20h - Tarif 8€   Nina Garcia et Maria Bertel,  France  Sauvage,  Somaticae 

Un nouveau partenariat avec les Instants Chavirés. Forcément de traverse et aventureuse, cette soirée en trois parties propose une plongée aux confins de l'électronique et des musiques libres actuelles. Des aspects free, massifs et électriques des musiciennes Nina Garcia et Maria Bertel en passant par les attaques technoïdes et acides du grenoblois Somaticae et l'étrange musique électro concrète rythmique de France Sauvage. http://www.instantschavires.com

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Samedi 7 décembre à 19h30  - Entrée libre sur réservation  

Porque  -  Structure Couple  Danse 27 min  Lotus Eddé Khouri et Christophe Macé collaborent sous le nom de Structure-Couple, explorant la radicalité du geste visuel, musical et chorégraphique à travers une Scénographie : Christophe Macé, Lumières : Structure-Couple, Régie Lumière : Baptiste Joxe 

Production CHORDA, Co-production : Le Générateur, Avec l'aide de la Drac Ile-de-France - Programmation hors les murs de l'Atelier de Paris / CDCN en partenariat avec Paris Réseau Danse.

Soundtracks :  Mathieu Bauer  / Sylvain Cartigny   Un projet qui s'appuie sur deux faces d'un vinyle de sons divers et variées. L'ensemble de ces fragments sonores très court, dictent les ruptures et les couleurs musicales aux deux musiciens qui se délectent de cette bandes sons, aux univers improbables.  

Les Revues phonographiques : Jérôme Poret, Myriam Pruvot, Quentin Rollet,  Jalal Aro et Marc Parazon   Initiés par Jérôme Poret et le comité des autoctones du Bizarre, les Revues phonographiques pour son deuxième rendez-vous diffuseront une série de complicités d'artistes musicien.es et de machines parlantes au travers de la collection du Phonomuseum toutes en live et en cornet acoustique ! Une coproduction Labelle69 et Phonomuseum.

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Expositions :Comité des autochtones du Bizarre et Samuel Arthur : Around the world. Série de 108 cartes postales touristiques dont les images ont été recouvertes à la peinture noire. Seuls persistent le nom du pays, de la ville ou du lieu représenté ainsi que les éléments de design graphique. …………………………………. Théâtre Municipal Berthelot - Jean Guerrin 6 rue Marcellin Berthelot 93100 Montreuil Métro: Croix de Chavaux Réservations: 01 71 89 26 70 resa.berthelot@montreuil.fr

[emilyjones-pdp-csm]

I was Looking at surrealism to explore the subconscious.

Film i looked at that would go onto influence me:

- Eraserhead by David Lynch

- Spellbound by Alfred Hitchcock

- Un chien andalou by Luis Buñuel + Salvador Dalí

- Under the skin by Jonathan Glazer 

- Le Voyage Dans la Lun (A Trip to the Moon) by Georges Méliès

The spokesman of the movement, Andre Breton, stated that Surrealism was meant to be used to reunite the unconscious and conscious experiences completely so that the dream and fantasy world would unite.

Through this unity, the rational world would be presented in the minds of people in such a way that there would exist not only “an absolute reality -but also- surrealism” - unknown writer

“History has a tendency to pigeonhole women as ‘muses’ to their male partners, often forgetting the female behind such labels. These women may have inspired countless artistic creations but they also fought back by pushing the boundaries of their male contemporaries to forge their own creative place, amassing respect and followers of their own in the meantime. Let us remind ourselves that Dora Maar – one of the most iconic muses in art history, is much more than Pablo Picasso’s unfortunately nicknamed "Weeping Woman": she was a renowned photographer whose work “Pere Ubu” achieved iconic Surrealist status and was pride of place at London’s International Surrealist Exhibition in 1936. Most significantly, many of these women were already practicing artists before they coupled with their partners – not that that really matters – but to reduce them purely to ‘muses’ undermines when they challenged patriarchal ideology and paved the way for today’s trailblazing females.” - From Dazed article (unknown writer)

[krakowergroup]

PR: VARÈSE TO REISSUE TWO LP RELEASES OF PERE UBU’S CLASSIC TERMINAL TOWER

VARÈSE VINTAGE CONTINUES TO REISSUE OUT-OF-PRINT ARTIST ALBUMS WITH TWO LP RELEASES OF PERE UBU’S CLASSIC TERMINAL TOWER Terminal Tower To Be Released As A Limited Edition Clear Vinyl Version (500 Units) And A Standard Version (Black Vinyl) “As punk was heating up in New York and London, it was also percolating in Cleveland, where Pere Ubu created an "industrial folk" that sounded post-punk in 1975.” ~ Rolling Stone Top 40 Punk Albums of All-Time

(July 25, 2018– Los Angeles, CA) – Varèse Vintage, a division of Varèse Sarabande Records, is proud to release two LP versions of Pere Ubu’s seminal album Terminal Tower on July 27, 2018.  The label will be releasing a limited edition (500 units) clear vinyl version and a standard black vinyl version.  Terminal Tower was named one of Rolling Stone magazine’s Top 40 punk albums of all time. Pere Ubu was formed in Cleveland in 1975.  Releasing 16 albums over a 40+ year career and continuously helmed by singer/songwriter, David Thomas, the band has been one of the foundations of Avant Garde and Punk Rock in the U.S. and overseas.  Their most recent new release was 2017’s 20 Years in a Montana Missile Silo. Originally released in 1985, Terminal Tower is an essential collection of the band’s early singles and B-sides – all released between 1976 and 1980.  The album is long out-of-print on both CD and LP formats, and has never been released digitally.  These LP versions of the recording have been fully remastered. TRACK LISTING:  1. Heart Of Darkness  2. 30 Seconds Over Tokyo  3. Final Solution  4. Cloud 149  5. Untitled  6. My Dark Ages  7. Heaven  8. Humor Me  9. The Book Is On The Table  10. Not Happy  11. Lonesome Cowboy Dave Varèse Vintage presents Pere Ubu’s Terminal Tower on clear vinyl (limited 500 units) and a standard black vinyl version.  Terminal Tower will be available wherever LPs are sold on July 27, 2018.   # # # www.varesesarabande.com For more information contact KrakowerGroup[at]gmail.com, or @KrakowerGroup on Twitter ABOUT VARÈSE SARABANDE RECORDS Founded in 1978, Varèse Sarabande is the most prolific producer of film music in the world, releasing the highest quality soundtracks from the world’s greatest composers. From current box office hits and top television series to the classics of Hollywood’s Golden Age, Varèse Sarabande’s catalog includes albums from practically every composer in every era, covering all of film history; from Bernard Herrmann, Alex North and Jerry Goldsmith to Alexandre Desplat, Michael Giacchino and Brian Tyler. Varèse Sarabande releases deluxe and expanded editions of special soundtracks for the film music aficionado. The Varèse Vintage imprint specializes in releasing new and re-issued albums by classic pop, jazz and country artists. Varèse Sarabande Records is distributed by Universal Music Group. Follow:  twitter.com/varesesarabande Watch:  youtube.com/varesesarabande Listen:  open.spotify.com/user/varesesarabanderecords Like:  facebook.com/varesesarabanderecords Buy:  varesesarabande.com

[post-punk-author-anthony-day]

https://open.spotify.com/playlist/74rrLIgdHwrq4WwmcAtK1h?si=CDAqaYS7T6yaSc5nv72I9w 400 hours! 6000 Trax ! 1000s of bands ! ALL SUBGENRES (DARKWAVE, COLDWAVE, NOISE ROCK, CRANKWAVE, EGG PUNK, GOTHIC PUNK, SOVIET WAVE, ART PUNK) 

INCLUDES 70S (Pere Ubu, Magazine, Gang of four, Television, Talking Heads,  Martin Rev and Alan Vega, James Chance, Essential Logic, Siouxsie Sioux, Killing Joke, Public Image LTD, Devo, Nick Cave, The Boys Next Door, The Pop Group, The Clash, The Cure, The Smiths & THE FALL, The Slits and The Raincoats

80s New Wave (Simple Minds, New Order, Dead Can Dance, Kitchens of Distinction, Jesus and Mary Chain, XTC, The Opposition, ESG, Units, Red Lorry Yellow Lorry, The Chameleons, Echo and the Bunnymen, ESG, Glaxo Babies, The Feelies, The Essence, A Certain Ratio, Mission to Burma, The Minutemen, Nick Cave , Bad Seeds and The Birthday Party, little Nemo, The Sound, The Wake, Section 25, JOSEF K, Orange Juice, Sugarcubes, Chrome, Method Actors

Goth -  Death in June, March Violets, Clan of Xymox, Christian Death, Southern Death Cult, Sisters of Mercy, Drab Majesty, Tropic of Cancer, 13th Chime, And Also the Trees, 

No Wave (Ice age, Sonic Youth) 

Darkwave - IAMTheShadow, this cold night, Tropic of Cancer, Nation of Language, Ritual Howls, A Projection, Topographies, Siglo XX, Bolshoi, Lust for Youth, VR Sex, A place to bury strangers 

SOVIET WAVE (Ploho, Manicure, Buerak, Molchat Doma, Utro, peremotka, Motorama, Serpien, Bitchevsky Park, nürnberg, Super Besse 

& 

#PostPunk2K

Courting, Black Midi, Bambara, Vundabar, Squid, Viagra Boys, Fontaines DC, Black Country New Road, Goat Girl, Warpaint, TV Priest, Theeosees, the drums, Egyptian Blue, Preoccupations, Protomartyr, Have a Nice Life, Automatic, Soviet Soviet, Human Tetris, Iceage, Film School, Ought, The Murder Capital, White Lies, Interpol, Editors, Yeah Yeah Yeahs, Fufanu, The Serfs, No Age, Hologramsl

[lasemainedubizarre]

Semaine du Bizarre - 2018

Théâtre Municipal Berthelot 6, rue Marcellin-Berthelot - Montreuil Métro : Croix de Chavaux 01 71 89 26 70 resa.berthelot@montreuil.fr Métro : Ligne 9, station Croix de Chavaux (sortie Kléber)

Semaine du Bizarre #7 avec PERE UBU - Joanne Leighton - Jean Denis Bonan - Elsa Biston - Benjamin Sanz- Julien Pontvianne - BORDIGAGA - Jalal Aro Jerôme Poret - Bertrand Lamarche - Marie Reinert - Dominique Petitgand - Violaine Lochu - HEIMAT - Black Sifichi - Xavier Mussat - Bruno Billaudeau - Sandra Abouav - Rodolphe Delaunay - Cie Les temps Blancs (Le mont analogue - René Daumal) - Editions PPT - Luna Park Films - Ravi Shardja , Jean Golo + Expositions Laura Lot - Jerome Poret - Le Colonel et Le comité des autochtones du Bizarre(Programme complet ci-dessous) https://www.facebook.com/events/2194532837499426/ Programme : 1/ Lundi 3 décembre à 20h30 au Cinéma Le Méliès Troubles - Films de Jean-Denis Bonan, 1966-68 Projection proposée par Luna Park Films Démence, rêve, émeute. Cinéaste insurgé, Jean-Denis Bonan réalise de 1966 à 69 des œuvres troublantes, sur les fêlures de la passion (Matthieu fou), contre la société de consommation (Tristesse des anthropophages, censuré en 1967), du côté de la folie à la clinique La Borde (L’école des fous), sur la révolte de 68 (Le joli mois de mai) . Certains de ses courts métrages sont jusque-là totalement inédits. http://lunaparkfilms.blogspot.com Tarif : 6 et 4 euros .......................................................... 2 / Mardi 4 décembre à 20h30 au théâtre municipal Berthelot I am sitting in a room - WLDN - Joanne Leighton / Alvin Lucier, proposé par Atelier de Paris / Centre de développement Chorégraphique national "I am sitting in a room" est une pièce musicale du compositeur américain Alvin Lucier qui prend un texte comme point de départ pour une composition sonore. Dans sa forme parlée, il constitue simultanément le matériau brut et les instructions d’exécution. Le travail chorégraphique emploie le même double processus, utilisant la composition musicale de Lucier. Tout au long de la performance, la position assise subit une série de transformations, pour devenir parfois sculpturale, ou performative ou encore dansée. Chorégraphie et direction : Joanne Leighton , Musique : Alvin Lucier , Installation sonore : Peter Crosbie , avec Marion Carriau, Marie Fonte, Arthur Pérole, Alexandre da Silva, Lumières : Sylvie Mélis, Costumes : Alexandra Bertault, Joanne Leighton, Décor : Tovo&Jamil Tarifs / 12 / 8 euros .......................................................... 3 / Jeudi 6 décembre au théâtre municipal Berthelot 18h Vernissage de l'exposition de collage de Laura Lot* "Selten Gelesene Musik" 20h30 Soirée sonore avec Mirr, Labelle69, le Phonomuseum et le collectif Les autochtones du Bizarre -La vague : Elsa Biston, Benjamin Sanz et Julien Pontvianne Un son dense, vibrant où rythmes et texture sont entremêlés et fusionnent, une matière sonore construite autour de battements induits par des sine waves qui entrent en résonance avec la batterie et créent des polyrythmies, des harmonies complexes ...La batterie est ici exploitée dans sa composante timbrale autant que pour son rôle rythmique. -Les Revues phonographiques : Avec Jalal Aro , Bertrand Lamarche, Violaine Lochu, Dominique Petitgand, Jérôme Poret, Marie Reinert + DJ Ravi Shardja Sous la forme d’intervention brève et orchestrée de disques d’artistes, de connaisseurs et de collectionneurs. Venez découvrir quelques histoires particulières du support phonographique qui a parcouru les deux siècles précédant en leur donnant une lecture singulière jusqu’à nos jours DJ set de Ravi Shardja aka Xavier Roux,compositeur, musicien soliste ou en groupe (Couloir Gang, GOL, Art & Technique...) Lancement et signature de Silo, devenir blé, de Marie Reinert, sur le stand de disques et d'éditions de PPT / Stembogen & collègues, complice du festival depuis ses débuts. Exposition Phonogravure de Mâchefer, de Jérôme Poret v ENTREE LIBRE SUR RESERVATION ......................................................... 4/ Vendredi 7 décembre à 20h30 au théâtre municipal Berthelot https://www.facebook.com/events/956859817855293/ Black SIFICHI, Bruno Billaudeau, Xavier Mussat : Projet BRUXOS Instruments chimériques insolites inventés par Bruno BILLAUDEAU, guitare électrique augmentée bruitiste de Xavier MUSSAT et le verbe organique et puissant de l’écrivain poète Black SIFICHI. Un voyage immersif et chamanique dans un univers réveillant et bousculant l’imaginaire. Bordigaga «Trio internationaliste imperfectionniste performativiste non folk bancaliste : électronique-voix-samples-instruments. C’est hérissé d’aspérités / porosités / ruptures / cachettes à surprises / faux bonds et faux départs.» (Le non_jazz). Heimat (sur une proposition des Instants chavirés) : Heimat c'est Armelle (The Dreams, Badaboum…) et Olivier (ex Cheveu) qui tricottent des accroche-coeurs sonores à base de boîte à rythme, samples de musiques orientales et chants en allemand. Le duo a sorti un premier album éponyme chez Teenage Menopause. 10 pistes aux sonorités à la fois élégiaques et électro punk. Des beats entrainants supportés par la voix grave et enveloppante d'Armelle. https://meineheimat.bandcamp.com/releases En partenariat avec les Instants Chavirés Les Instants Chavirés sont depuis 1991 un lieu de diffusion et de création «incontournable» reconnu internationalement et pensé comme un laboratoire des musiques improvisées, expérimentales, bruitistes. https://www.instantschavires.com Tarifs : 8 euros .......................................................... 5 / Samedi 8 décembre à 21h au théâtre municipal Berthelot Pere Ubu https://www.facebook.com/events/1912333219076300/ Considéré comme l’un des mythes les plus prégnants du post-punk américain et l’un des pionniers de la musique industrielle, Pere Ubu, dynamite le rock depuis plus de quarante ans. Son leader charismatique David Thomas participe à une multitude de projets (http://www.ubuprojex.com) Pere Ubu (Moon Unit) revisite le catalogue Ubu et expérimente. Pere Ubu décompose le rock, commence par les refrains, transforme ses chants en incantations où fulmine David Thomas, selon sa formule "Pere Ubu n’incite pas au chaos. Il l’entretient". Matthieu Conquet En partenariat avec Le Nouveau Théâtre de Montreuil dans le cadre de Mesure pour mesure Billetterie :  http://www.nouveau-theatre-montreuil.com/fr/programme/pere-ubu Tarif unique : 11 euros + Dj set Jean Golo 6 / Le Mont Analogue d'après René Daumal Le Mont Analogue est un roman inachevé de René Daumal. Dans chaque culture, une montagne sacrée relie la terre et le monde des dieux : sa base est accessible, mais son sommet inaccessible pour l’homme. Elle lui donne une échelle de l’infini. Trois acteurs s’emparent du livre, et se préparent à partir à sa recherche. De l’improvisation à l’écriture de Daumal, en passant par les traités de géographie et les mythes des cimes, ils créent un territoire imaginaire où le langage est leur piolet et la poésie leurs crampons sur les parois glissantes du Mont Analogue. Mise en scène : Victor Thimonier, dramaturgie : Léa Carton de Grammont, Scénographie : Amélie Vignals Jeu : Margaux Desailly, Maxime Kerzanet, Jean-Erns Marie Louise, création sonore : Juliette Sedes, création lumière : Hugo Fleurance Jeudi 13, Vendredi 14, Samedi 15 décembre à 20h30 Durée: 1h45 Tarifs / 12 / 8 euros .......................................................... 7 / Samedi 15 décembre à 18h00 au Centre Tignous d’Art Contemporain 116, rue de Paris- Montreuil Rodolphe Delaunay « La Dimension Sonore des Grottes Ornées » - Durée 15 min Dans le cadre du finissage de l’exposition de l’exposition « des agents se créent... » Cette performance prend la forme d’une conférence ayant pour sujet la relation entre l’emplacement des peintures qui ornent certaines grottes pré-historiques et les qualités acoustiques de ces emplacements. Cette thèse postule une relation entre son et peinture pariétale. Entrée libre à 19h00 au Théâtre municipal Berthelot Parachutée - Sandra Abouav « L’ingénieur Dédale, père d’Icare aurait été plus inspiré en dotant son fils d’une toile imitant la méduse plutôt que de plumes imitant l’oiseau. Son fils n’aurait pu être tenté de monter vers le soleil, la toile l’entrainnant irréversiblement vers le bas, bien que ralentissant les effets de la gravité de l’homme et mettant en grâce l’apesanteur. » Sandra Abouav. Un avant-goût de Parachute (création en cours), dans le cadre de l’accompagnement de la compagnie métatarses par les Journées Danse Dense. Entrée libre sur réservation .......................................................... 8 / Exposition Laura Lot - Collages Vernissage le 6 décembre à 18h au théâtre municipal Berthelot Exposition du 4 au 8 décembre Laura Lot est une artiste travaillant principalement le collage. Bien que la majorité de sa production se concentre sur l’assemblage de matériel photographique personnel ou d’archive pour constituer des collages sur papier, elle explore néanmoins le domaine de l’installation et de la performance à travers des correspondances entre image, son, et écriture. Elle est DJ et anime une émission radio sous le nom de Laura Not. Sa musique reflète sa pratique du collage à travers l'expérimentation de nouvelles connexions entre différentes sonorités. Elle vit et travaille en France et en Allemagne. http://lauralot.net/ .......................................................... Théâtre Municipal Berthelot6, rue Marcellin-Berthelot - MONTREUILMétro : Croix de Chavaux01 71 89 26 70resa.berthelot@montreuil.frMétro : Ligne 9, station Croix de Chavaux (sortie Kléber)