The Modern Dance

The Modern Dance
Studio album by Pere Ubu
Released	February 1978 (1978-02)[1]
Recorded	October 1976-November 1977
Studio	Cleveland Recording Suma, Cleveland, Ohio, US
Genre	Experimental rock[2] art punk
Length	36:20
Label	Blank
Producer	Pere Ubu Ken Hamann
Pere Ubu chronology
The Modern Dance (1978) Dub Housing (1978)
Singles from The Modern Dance
"Street Waves" Released: October 12, 1976[3] "The Modern Dance" Released: August 25, 1977[4]

The Modern Dance is the debut album by the American rock band Pere Ubu. It was released in February 1978 through the label Blank Records.^[1] Although commercially unsuccesful, it drew critical acclaim and was later regarded as influential in the development of post-punk.^[9]

The album was ranked number 11 by NME on their list of "Best Albums of 1978", number 31 by Fact in "The 100 Best Albums of the 1970s", and number 63 on Uncut's "The 100 Greatest Debut Albums". It appears in the 2005 book 1001 Albums You Must Hear Before You Die.^[10]

In 2005, a 5.1-surround-sound version was released as the DVD-Audio side of a DualDisc.

On October 12, 1976, Pere Ubu released "Street Waves" as a single backed with "My Dark Ages". When Cliff Burnstein, the A&R man for Mercury Records in Chicago came across the single, he told the band that Mercury was not the right fit for them. But when Chrysalis Records in the UK reached out to Pere Ubu, Burnstein quickly recontacted the band; he proposed they sign with a new Mercury imprint he was forming: Blank Records.^[11] By early 1977, Pere Ubu performed their first gigs outside Cleveland: New York's CBGB and Max's Kansas City, where they played that would appear on their debut album.^[12]

The Modern Dance was released in February 1978^[1], a month late because the record label had to change its name from Dip Records, which was in use by an evangelist.^[5]

To promote the album, an American tour with labelmates the Suicide Commandos was scheduled to begin on February 18, 1978, with a show in Cleveland promoted by Johnny Dromette.^[11][13][14] Drummer Scott Krauss temporarily left the group for the first of the three times he would do so over the decades, and was promptly replaced by Anton Fier of the Feelies, though Krauss rejoined two weeks later, with Fier stepping down and rejoining years later during recording of Song of the Bailing Man.^[12][15][16]

The music drew influences from the avant-garde, garage rock, musique concrète, performance art, and the Rust Belt of the American Midwest.^[17][18] The album's cover art and track "Chinese Radiation", were inspired by Maoism and Chinese nuclear weapons testing. David Thomas said^[11]:

It was said that Cleveland had the highest population of Maoists outside of China, an urban myth probably but that was the talk...When China tested its A-bombs, the fallout traveled in the high atmosphere to finally descend...on Cleveland.

"Life Stinks" was written by former guitarist Peter Laughner and previously performed live by Rocket from the Tombs, while "Humor Me" was written in response to his death, as a play on his last name, "Laugh-".^[11] "Street Waves" was inspired by a stack of used tires on Detroit Avenue.^[11] The track "The Modern Dance" featured field recordings made by synthesist Allen Ravenstine in Downtown Cleveland; an earlier version of the song was later released as "untitled" on Datapanik in the Year Zero.^[19] Ravenstine said "Sentimental Journey" was a take on the 1945 Doris Day song of the same name, with the impromptu sounds of breaking glass bottles acting as a harsh and angry juxtaposition to the suburban lifestyle evoked by the original song.^[19][20][21]

Pere Ubu recorded most of their debut album in November 1977 at Suma Studio with engineer Ken Hamann, who would become a longtime collaborator of the band. Burnstein financed the sessions.^[22]

During the recording sessions, executives mistook Ravenstine's EML synthesizer for a technical error or accidental noise bleed. They were going to discard the recordings until the band assured them that it was exactly how they wanted the album to sound.^[23] Hamann detailed the recording process of the album in a 1999 interview with Tape Op^[24]:

[...] mostly close mic'd, with a pair of overheads. Snare usually was either from the top or the bottom; the bottom was good. The bass drum, the front was usually open and the mic was in the drum. And the toms frequently we mic'd from underneath. That's the floor tom. The other toms we might have done micing from the top. Generally speaking, the bottoms of the drums were all removed. It removed unwanted resonances, gave them a tighter sound. He most often used Neumann KM-56s on the toms and snare and as overheads, with a Beyer dynamic microphone on the kick drum. Neumann U-47s were common on bass and guitar amps. Allen Ravenstine's EML synthesizer went direct. "I was quite taken by how he was able to provide exactly the right sound that was needed.

Some songs were recorded in October 1976 and January, August, and November 1977, while the band was touring. "Street Waves" and "The Modern Dance" were released as singles ahead of the album.^[11] Ravenstine and Thomas described the songs as being already written and easy to record.^[25] Hamann detailed the recording of the album's closer, "Sentimental Journey" which featured sounds of breaking glass^[24]:

We have a huge, stone fireplace at one end of the studio-it's about 15 feet wide. They asked if we could do it. We said, 'Sure, why not, as long as you don't hurt yourself.' That was done as an overdub. At that time, we had 24 tracks, so we had the tracks to spare.

Professional ratings

Review scores
Source	Rating
AllMusic	[26]
Christgau's Record Guide	A−[27]
Encyclopedia of Popular Music	[28]
The Independent	[29]
Mojo	[30]
New Musical Express	10/10[31]
Q	[32]
Record Mirror	[33]
The Rolling Stone Album Guide	[34]
Spin Alternative Record Guide	10/10[35]
Uncut	[36]

Robert Christgau reviewed the album for The Village Voice in 1978, writing that: "even though there's too much Radio Ethiopia and not enough 'Redondo Beach,'" he would be "listening through the failed stuff—the highs are worth it."^[37] In Christgau's Record Guide: Rock Albums of the Seventies (1981), he reaffirmed that "the highs are worth it, and the failed stuff ain't bad" in his revised review.^[27] Ken Tucker, writing in Rolling Stone, called it vivid and exhilarating, even if "harsh and willfully ugly".^[38]

On March 18, 1978, writer Ian Birch of Melody Maker stated "It's a devastating debut...this album has struck me with a vengeance. Because it delivers such a powerful, complex and open-ended punch, it's almost impossible at such an early stage to explain why or how in full detail."^[11]

Jon Savage of Sounds magazine reviewed the album on November 2, 1978, stating: "Uh-oh, this is getting frustrating, trying to tell you how good this is - black and white is an inadequate substitute for the impact heard ... This is a brilliant debut. Granted it lacks the superficial accessibility of lesser works, but this time around the aroma lingers. This is built to last! Ubu's world is rarely comfortable, full of the space beyond the electric light and what it does to people, but always direct and unwavering. And courageous."^[11]

David Stubbs of Uncut reviewed the album in August 2006, stating: "This is a far more cerebral, imperishable proposition than a mere local cry of urban discontent. The Eraserhead-style sad-clown persona of singer David Thomas, Tom Herman's nerve-shredding slide guitars and Ravenstine's abstract electronics combine to form a rock music as visceral and essential as the Stooges, yet which reaches parts of the brain untouched by their peers, predecessors or successors... An album that's only gotten more awesome with age."^[11]

Fact magazine placed the record at number 31 on its list of the 100 best albums of the 1970s.^[39] NME ranked The Modern Dance the 11th best album of 1978, while Uncut placed the album number 63 on their list "The 100 Greatest Debut Albums". ^[40] Additionally, The Guardian stated, "[...] had this son of a literary professor stopped at The Modern Dance, he would have already sealed his legacy as one of rock’s great outsider innovator-pioneers."^[41]

Pere Ubu

• David Thomas – vocals, musette, percussion, production
• Tom Herman – guitar, backing vocals, production
• Allen Ravenstine – EML 101 and 200 analog synthesizers, saxophone, tapes, production
• Tony Maimone – bass, piano, backing vocals, production
• Scott Krauss – drums, production

Technical

• S. W. Taylor – sleeve artwork
• Ken Hamann – engineering, production
• Mike Bishop – engineering assistance
• Paul Hamann – engineering assistance
• Mik Mellen – sleeve photography

• The Modern Dance at Discogs (list of releases)