David Thomas was a founding member of the legendary Rocket from the Tombs in Cleveland during 1974. Although they were only together for a relatively short period of time, when they split the various members went on to form Pere Ubu and the Dead Boys, both of whom were destined to leave indelible marks on the development of modern music. But while the Dead Boys would only last until 1979, Pere Ubu (despite a five year hiatus during the mid-Eighties, when David recorded several solo albums) have continued to this day, releasing many albums and touring throughout Europe and America. David has remained the only continuous member of Pere Ubu, but former members often return to the fold for either studio or live projects, as and when appropriate. On top of this, David has also found time to work on several non-Ubu projects, including The Two Pale Boys, Mirror Man and the reformed Rocket from the Tombs. The latest Pere Ubu album, ‘Trouble on Big Beat Street’ has just been released and it really is one of their best. It combines elements from older Pere Ubu albums, together with new ideas and direction to create an enthralling and entertaining record. In addition, there’s also a surprising cover of The Osmonds’ song ‘Crazy Horses’, delivered in Pere Ubu’s inimitable style! I was fortunate enough to arrange an interview with David Thomas to discuss the new album and the way it came together.
Over the years, David has remained the only constant member of Pere Ubu, but former members have often returned to the band for new projects. David has spoken of the concept of ‘Grand Ubu’, whereby previous members are brought back to create the best band for the current project. I wondered if this is something he still encourages?
‘Yes, but it never really comes to much apart from a couple of gigs here and there. That said, we have three shows coming up in June, in London, New York and LA, and at each of them we’ll have various older members of the band coming along and participating in the show, so I guess that will be another small implementation of the process. I’m really looking forward to it.’
Over the years, David has remained the only constant member of Pere Ubu, but former members have often returned to the band for new projects. David has spoken of the concept of ‘Grand Ubu’, whereby previous members are brought back to create the best band for the current project. I wondered if this is something he still encourages?
‘Yes, but it never really comes to much apart from a couple of gigs here and there. That said, we have three shows coming up in June, in London, New York and LA, and at each of them we’ll have various older members of the band coming along and participating in the show, so I guess that will be another small implementation of the process. I’m really looking forward to it.’
In the case of the new album, both Andy and Keith, who you previously worked with in Two Pale Boys, are now both playing as part of Pere Ubu…
‘Well, they’re no longer the Two Pale Boys, but members of Pere Ubu. As far as I was concerned, the Two Pale Boys was always more of a sort of shock-troop organisation that had ambitions for Pere Ubu, which are more or less fulfilled on this album. For instance, we got rid of composition and we got rid of the rehearsing… We got rid of everything but having a band that was capable of creating songs out of nothing. The thing with the Pale Boys was that there was only ever the three of us and there was no rhythm section. No drummer and no bass player. So the whole thing had a vast freedom that made it possible to do the things I wanted to do. When you add a bass player and a drummer, you have all sorts of problems because they always feel like they have to play together and be tight and all that kind of crap. It can take a long time to come up with people and situations where they feel comfortable with the thought that, say, there’s drums here but in three bars the drums are going to stop for the next five minutes of the song… There are so many ‘rules’ that are there as a comfort device and it can take a long time to wean people off those rules. In this case, working with the Pale Boys was what it took. The Pale Boys was dedicated to having a place where I could work on my future vision for Pere Ubu. Eventually I thought, well, it’s time to move this over to Pere Ubu and change the Pere Ubu project. That was sort of the purpose of the last album, ‘The Long Goodbye’… it was meant to wrap-up forty years of stories and certain ways of doing things. It marked the end of an old Pere Ubu and the beginning of a new Pere Ubu. We’re now off on a new adventure, as it were, and we’ll see what comes of it.’
Although when Pere Ubu plays live the emphasis is usually on your latest material, you’ve never been reluctant to include older material in your sets. Do you think you achieve a good balance between the old and the new?
‘We’ve always liked playing the songs… I don’t particularly want to be stuck in the past and I don’t think we are, but you can’t ignore the fact that we recorded those songs and that they are good songs, so why shouldn’t they be played? I mean, sometimes we feel that we want to play ’30 Seconds Over Tokyo’, but other times we’ll feel like, ‘Oh please, I don’t want to do that tonight…’ And I’m sure that, if I thought about it long enough, I could come up with a couple of songs that I’d never want to play again, although most of those would probably be from Rocket From The Tombs… But I don’t think there are any Pere Ubu songs that I would never want to play again. I still think they’re all valid songs.’
‘Well, they’re no longer the Two Pale Boys, but members of Pere Ubu. As far as I was concerned, the Two Pale Boys was always more of a sort of shock-troop organisation that had ambitions for Pere Ubu, which are more or less fulfilled on this album. For instance, we got rid of composition and we got rid of the rehearsing… We got rid of everything but having a band that was capable of creating songs out of nothing. The thing with the Pale Boys was that there was only ever the three of us and there was no rhythm section. No drummer and no bass player. So the whole thing had a vast freedom that made it possible to do the things I wanted to do. When you add a bass player and a drummer, you have all sorts of problems because they always feel like they have to play together and be tight and all that kind of crap. It can take a long time to come up with people and situations where they feel comfortable with the thought that, say, there’s drums here but in three bars the drums are going to stop for the next five minutes of the song… There are so many ‘rules’ that are there as a comfort device and it can take a long time to wean people off those rules. In this case, working with the Pale Boys was what it took. The Pale Boys was dedicated to having a place where I could work on my future vision for Pere Ubu. Eventually I thought, well, it’s time to move this over to Pere Ubu and change the Pere Ubu project. That was sort of the purpose of the last album, ‘The Long Goodbye’… it was meant to wrap-up forty years of stories and certain ways of doing things. It marked the end of an old Pere Ubu and the beginning of a new Pere Ubu. We’re now off on a new adventure, as it were, and we’ll see what comes of it.’
Although when Pere Ubu plays live the emphasis is usually on your latest material, you’ve never been reluctant to include older material in your sets. Do you think you achieve a good balance between the old and the new?
‘We’ve always liked playing the songs… I don’t particularly want to be stuck in the past and I don’t think we are, but you can’t ignore the fact that we recorded those songs and that they are good songs, so why shouldn’t they be played? I mean, sometimes we feel that we want to play ’30 Seconds Over Tokyo’, but other times we’ll feel like, ‘Oh please, I don’t want to do that tonight…’ And I’m sure that, if I thought about it long enough, I could come up with a couple of songs that I’d never want to play again, although most of those would probably be from Rocket From The Tombs… But I don’t think there are any Pere Ubu songs that I would never want to play again. I still think they’re all valid songs.’
One of the songs on the new album, ‘Nyah Nyah Nyah’, refers back to the song ‘Sad Txt’ (from the ‘Pennsylvania’ album.) Do you often find yourself doing that when you’re writing new lyrics?
‘Not as much as I used to. In fact, I meant to put an end to it, but… All of the songs on this album have only been played once, when they were recorded. They weren’t rehearsed and they weren’t composed. We played them live at a series of shows at a nice little Improv club in London called Café Oto, and a lot of what we did there was turned into songs on the new album. I’d just go through and fix things afterwards, you know, perhaps a line or a beat somewhere along the way, and we’d occasionally do overdubs, where we felt we needed something else or perhaps there was a part that we really wanted in there but nobody had played it. We did a certain amount of fixing-things, but mostly it was a case that the songs just kept coming and we ended up with 17 of them. I had originally intended to leave those seven extra songs off the record because I wanted it to be one tight album, but everyone was saying, ‘No, we can’t lose them!’ So we decided on a way of dealing with this, which was that we basically gave the record company the extra seven songs on the basis that they’ll never be allowed to release them on any other format except on the CD or whatever else we decide. So the fans get ‘The Directors Cut’, as it were, without having to pay anything more for it. The record company isn’t allowed to charge any more for it as we gave them the extra tracks for free. So that’s what we did with this album…’
When you’re putting an album together, do you have any preference about what format it will be released on?
‘Well, I hate vinyl, I can’t stand it. It’s a drag and I’ve had all sorts of problems with it, which everyone else seems to blithely ignore. There’s the lie that ‘vinyl sounds warmer’, but I’ve had long discussions with our engineers over the years and really, when people say that vinyl sounds warmer, it’s really just distortion. For me, I’d rather not have that distortion and I’d rather not have all the trouble and limitations that vinyl has. It can really annoy me at times, but a lot of people still like it so we’re happy to sell it to them!’
‘Not as much as I used to. In fact, I meant to put an end to it, but… All of the songs on this album have only been played once, when they were recorded. They weren’t rehearsed and they weren’t composed. We played them live at a series of shows at a nice little Improv club in London called Café Oto, and a lot of what we did there was turned into songs on the new album. I’d just go through and fix things afterwards, you know, perhaps a line or a beat somewhere along the way, and we’d occasionally do overdubs, where we felt we needed something else or perhaps there was a part that we really wanted in there but nobody had played it. We did a certain amount of fixing-things, but mostly it was a case that the songs just kept coming and we ended up with 17 of them. I had originally intended to leave those seven extra songs off the record because I wanted it to be one tight album, but everyone was saying, ‘No, we can’t lose them!’ So we decided on a way of dealing with this, which was that we basically gave the record company the extra seven songs on the basis that they’ll never be allowed to release them on any other format except on the CD or whatever else we decide. So the fans get ‘The Directors Cut’, as it were, without having to pay anything more for it. The record company isn’t allowed to charge any more for it as we gave them the extra tracks for free. So that’s what we did with this album…’
When you’re putting an album together, do you have any preference about what format it will be released on?
‘Well, I hate vinyl, I can’t stand it. It’s a drag and I’ve had all sorts of problems with it, which everyone else seems to blithely ignore. There’s the lie that ‘vinyl sounds warmer’, but I’ve had long discussions with our engineers over the years and really, when people say that vinyl sounds warmer, it’s really just distortion. For me, I’d rather not have that distortion and I’d rather not have all the trouble and limitations that vinyl has. It can really annoy me at times, but a lot of people still like it so we’re happy to sell it to them!’
But in terms of having to arrange the songs to take into account side one and side two of a vinyl record, which is something you don’t have to worry about for a CD…
‘Well, that’s the least of the limitations, really. You have to think about things like, making sure the last track on each side isn’t too bass-heavy… There are hundreds of things like that and endless limitations with vinyl. So I was very happy when CDs came along as it meant I could do just what I wanted to do. The only thing I do like about vinyl is that it limits the time. I think that was one thing that CDs lost track of. With a CD, you can have 70 minutes of music on the damn thing, and I think that’s too long for an album. But that’s about the only limitation of vinyl that I do like… However, I’m not just sitting here being disparaging about vinyl, as to me it’s really just a commercial decision. If people want it, then fine, it’s not a problem.’
Although you can see certain consistencies over the years, Pere Ubu albums can often vary considerably from one to the next. Do you consider each new album as an individual project?
‘Yes, I think I’ve always felt that. Pere Ubu was set up so that when we’ve done one album, it would cease to exist and then we just had to wait to be invited to do the next one. Of course, over time the distinctions might follow over, but that’s the way it’s always been. When I finish a record, there may be some unfinished business that will make it clear to me what direction I want to head into next, but I’m not particularly interested in repeating the same thing. We do repeat things at times, but it’s never in any kind of cogent pattern. I remember back when we did ‘Dub Housing’, our manager came in to see us. He would later go on to be very successful, managing bands like Metallica and a bunch of people like that… Anyway, he told us that if we could do more albums like this, we would be superstars. Alan (Ravenstine) said, ‘Well, what if we can’t do more albums like this, or more importantly, what if we don’t want to?’ And he told us, ‘As long as you do something that has quality, people will still want to put it out…’ That sounded pretty good to us, so that’s been our way of doing things ever since. We don’t particularly operate in the music-business and it was only ever for a short period of time that we ever did operate in the music- business. Nowadays, when we record I can pay for the studio and pay for the recordings, so when we finish making an album we’ll just go to a record company and ask them if they want to put it out. The first one that says ‘yes’ will be our record company. I don’t particularly have to care about the business, because I’m too old to have to worry about that sort of thing. In fact, I always used to deny that Pere Ubu was a ‘punk’ band, but now, considering the way we do things, I’d admit it! We’re a punk band and there hasn’t been another punk band in the last thirty years… we’re it! So that’s sort of my attitude. It’s not a very good attitude, but it’s mine.’
‘Well, that’s the least of the limitations, really. You have to think about things like, making sure the last track on each side isn’t too bass-heavy… There are hundreds of things like that and endless limitations with vinyl. So I was very happy when CDs came along as it meant I could do just what I wanted to do. The only thing I do like about vinyl is that it limits the time. I think that was one thing that CDs lost track of. With a CD, you can have 70 minutes of music on the damn thing, and I think that’s too long for an album. But that’s about the only limitation of vinyl that I do like… However, I’m not just sitting here being disparaging about vinyl, as to me it’s really just a commercial decision. If people want it, then fine, it’s not a problem.’
Although you can see certain consistencies over the years, Pere Ubu albums can often vary considerably from one to the next. Do you consider each new album as an individual project?
‘Yes, I think I’ve always felt that. Pere Ubu was set up so that when we’ve done one album, it would cease to exist and then we just had to wait to be invited to do the next one. Of course, over time the distinctions might follow over, but that’s the way it’s always been. When I finish a record, there may be some unfinished business that will make it clear to me what direction I want to head into next, but I’m not particularly interested in repeating the same thing. We do repeat things at times, but it’s never in any kind of cogent pattern. I remember back when we did ‘Dub Housing’, our manager came in to see us. He would later go on to be very successful, managing bands like Metallica and a bunch of people like that… Anyway, he told us that if we could do more albums like this, we would be superstars. Alan (Ravenstine) said, ‘Well, what if we can’t do more albums like this, or more importantly, what if we don’t want to?’ And he told us, ‘As long as you do something that has quality, people will still want to put it out…’ That sounded pretty good to us, so that’s been our way of doing things ever since. We don’t particularly operate in the music-business and it was only ever for a short period of time that we ever did operate in the music- business. Nowadays, when we record I can pay for the studio and pay for the recordings, so when we finish making an album we’ll just go to a record company and ask them if they want to put it out. The first one that says ‘yes’ will be our record company. I don’t particularly have to care about the business, because I’m too old to have to worry about that sort of thing. In fact, I always used to deny that Pere Ubu was a ‘punk’ band, but now, considering the way we do things, I’d admit it! We’re a punk band and there hasn’t been another punk band in the last thirty years… we’re it! So that’s sort of my attitude. It’s not a very good attitude, but it’s mine.’
The way that your previous albums were conceived and produced means that they maintain their individuality and remain fresh. Do you think that’s why there’s still so much interest in your back catalogue ?
‘Well, yeah. Most people haven’t caught up to them. There’s no album that I’m particularly shy about and I believe in all of them. I like them all, although I’ll always like the latest album the best, which is very convenient. But looking back, the material holds up and why shouldn’t it? I interviewed Van Dyke Parks a few weeks ago and the theme of the interview was basically, that Van Dyke had once said that Art is not decoration, it’s serious stories that are meant to have a purpose. I’m with him on that.’
One of the things I’ve always enjoyed about Pere Ubu is that you’ve never make a distinction between genres. Within the course of one album, you can hear elements of Avant garde, Pop music, rock music or even Country music. You seem to take ideas and elements from whichever style is appropriate at the time…
‘Yeah… I like Pop music, or at least, parts of it. I don’t like all of it. But I like Pop music and I like noise, so I don’t see why I should draw a distinction between the two things. They’re both very useful and there are all sorts of gradations between the two extremes. They’re valuable grist to the mill. It depends on the story that you want to tell and this is the main thing. I don’t know if you’ve noticed, but with Pop music these days, they don’t tell stories any more. That’s why I’ve been saying that Country music has been carrying on the mantle of rock’n’roll and that’s been true for about thirty years. In Country music, the songs are stories, practically all of them. You’d be hard-pressed to find a Country song that isn’t a story, whereas with Pop music now, you can go all day without hearing one damn story on the radio. I warned everybody decades ago that this was going to happen, but no-one listened. It’s tough, but it is what it is and I don’t have any illusions about changing it. I just do what I do. You could sit here all day going on about it but it’s not going to change anything because everybody seems to be happy with the way it is. If you live in England right now, you’ll know what kind of shit-storm this country is in. I have to go to hospital for dialysis three times a week, so I listen to the radio while I’m there. And although this country is in deep, deep shit, everyone just seems to be pretending that they’re all happy, happy, clappy, clappy. There ought to be riots… No, actually, I don’t want to say there ought to be, but I’m stunned that there aren’t riots in the streets. It’s happening in France at the moment and it always happens there in these situations, but it hasn’t happened here for a long time. I’m not sitting here advocating it, I’m just saying that we all know what state this country is in. You could spend all day thinking of something that still works and I don’t think you’d be able to come up with anything. But in the entertainment business, everybody just goes on like it’s all happy, it’s all wonderful and everything’s fine… Don’t worry! So, alright, sure, I won’t worry. But it’s not going to be easy to find a way out of this.’
‘Well, yeah. Most people haven’t caught up to them. There’s no album that I’m particularly shy about and I believe in all of them. I like them all, although I’ll always like the latest album the best, which is very convenient. But looking back, the material holds up and why shouldn’t it? I interviewed Van Dyke Parks a few weeks ago and the theme of the interview was basically, that Van Dyke had once said that Art is not decoration, it’s serious stories that are meant to have a purpose. I’m with him on that.’
One of the things I’ve always enjoyed about Pere Ubu is that you’ve never make a distinction between genres. Within the course of one album, you can hear elements of Avant garde, Pop music, rock music or even Country music. You seem to take ideas and elements from whichever style is appropriate at the time…
‘Yeah… I like Pop music, or at least, parts of it. I don’t like all of it. But I like Pop music and I like noise, so I don’t see why I should draw a distinction between the two things. They’re both very useful and there are all sorts of gradations between the two extremes. They’re valuable grist to the mill. It depends on the story that you want to tell and this is the main thing. I don’t know if you’ve noticed, but with Pop music these days, they don’t tell stories any more. That’s why I’ve been saying that Country music has been carrying on the mantle of rock’n’roll and that’s been true for about thirty years. In Country music, the songs are stories, practically all of them. You’d be hard-pressed to find a Country song that isn’t a story, whereas with Pop music now, you can go all day without hearing one damn story on the radio. I warned everybody decades ago that this was going to happen, but no-one listened. It’s tough, but it is what it is and I don’t have any illusions about changing it. I just do what I do. You could sit here all day going on about it but it’s not going to change anything because everybody seems to be happy with the way it is. If you live in England right now, you’ll know what kind of shit-storm this country is in. I have to go to hospital for dialysis three times a week, so I listen to the radio while I’m there. And although this country is in deep, deep shit, everyone just seems to be pretending that they’re all happy, happy, clappy, clappy. There ought to be riots… No, actually, I don’t want to say there ought to be, but I’m stunned that there aren’t riots in the streets. It’s happening in France at the moment and it always happens there in these situations, but it hasn’t happened here for a long time. I’m not sitting here advocating it, I’m just saying that we all know what state this country is in. You could spend all day thinking of something that still works and I don’t think you’d be able to come up with anything. But in the entertainment business, everybody just goes on like it’s all happy, it’s all wonderful and everything’s fine… Don’t worry! So, alright, sure, I won’t worry. But it’s not going to be easy to find a way out of this.’
Changing the subject… back in 2016, you did a one-off concert in London with Mission of Burma. I was wondering, did you already know that band before you did the show?
‘I’m not sure if I already knew them or not. I knew of them, but I don’t really know many people. I’m not somebody who hangs out with other musicians or Pop stars or anything. I don’t know anybody, but I knew of them, absolutely, and Pere Ubu have played shows where they, or one of their offshoot bands, have opened-up. They’re a very good band and I’ve always liked them. My knowledge of music is pretty complete, except for current Pop music… I couldn’t tell you who most of the people on the radio are, right now. They all sound like children. All the women sound like teenage girls and all the men sound like… teenage girls! Teenage boys trying to sound like teenage girls, you know? It’s just absurd so I don’t pay any attention to it. What would be the point?’
The gig with Mission of Burma was set-up at pretty short notice, so you didn’t have much time to prepare what you were going to do with them. Is that something that you particularly relish doing?
‘It’s something I do a lot, so yeah. I’ve done all sorts of combinations with groups over the years and all sorts of musicians. I’m good at it and I enjoy doing it, especially as we don’t have to rehearse! Or, at most, the rehearsal is limited to 15 minutes during the sound-check. It’ll just be, ‘Okay, you do this, you do this, you do that, and it’ll all be alright.’ The musicians won’t be so sure, so I’ll tell them, ‘Don’t worry about it, just follow me and do what I say’. I did another show like that some time ago and the band was Steve Earle, Percy Heath, Van Dyke Parks, Phillip Glass and David Johansen. We only had fifteen minutes to arrange three songs at the sound-check and, after we did that, Van Dyke came up to me and said, ‘You’re a really good arranger!’ All I could say was, ‘Why, thank you Mr Parks.’ But basically, I just get on with it. I did five or six shows with him and he loved working with me because I’d always do the things that nobody else wanted to do, or that other people said were impossible to do. Everyone else would be saying, we need at least two hours to get ready, but I’d be saying, ‘Fifteen minutes? That’s okay, I can do it!’ He loved to have me around just because I’d save him lots of time and I’d do the stuff that nobody else wanted to do. I’d always say, ‘Sure, why not?’’
‘I’m not sure if I already knew them or not. I knew of them, but I don’t really know many people. I’m not somebody who hangs out with other musicians or Pop stars or anything. I don’t know anybody, but I knew of them, absolutely, and Pere Ubu have played shows where they, or one of their offshoot bands, have opened-up. They’re a very good band and I’ve always liked them. My knowledge of music is pretty complete, except for current Pop music… I couldn’t tell you who most of the people on the radio are, right now. They all sound like children. All the women sound like teenage girls and all the men sound like… teenage girls! Teenage boys trying to sound like teenage girls, you know? It’s just absurd so I don’t pay any attention to it. What would be the point?’
The gig with Mission of Burma was set-up at pretty short notice, so you didn’t have much time to prepare what you were going to do with them. Is that something that you particularly relish doing?
‘It’s something I do a lot, so yeah. I’ve done all sorts of combinations with groups over the years and all sorts of musicians. I’m good at it and I enjoy doing it, especially as we don’t have to rehearse! Or, at most, the rehearsal is limited to 15 minutes during the sound-check. It’ll just be, ‘Okay, you do this, you do this, you do that, and it’ll all be alright.’ The musicians won’t be so sure, so I’ll tell them, ‘Don’t worry about it, just follow me and do what I say’. I did another show like that some time ago and the band was Steve Earle, Percy Heath, Van Dyke Parks, Phillip Glass and David Johansen. We only had fifteen minutes to arrange three songs at the sound-check and, after we did that, Van Dyke came up to me and said, ‘You’re a really good arranger!’ All I could say was, ‘Why, thank you Mr Parks.’ But basically, I just get on with it. I did five or six shows with him and he loved working with me because I’d always do the things that nobody else wanted to do, or that other people said were impossible to do. Everyone else would be saying, we need at least two hours to get ready, but I’d be saying, ‘Fifteen minutes? That’s okay, I can do it!’ He loved to have me around just because I’d save him lots of time and I’d do the stuff that nobody else wanted to do. I’d always say, ‘Sure, why not?’’
You’ve been working on new musical projects pretty-much continuously since the early Seventies. Do you feel that you’re compelled to do this and that it’s something you have to do?
‘Well, it’s what I’m good at. I’m probably a decent writer, but I find that writing is too much trouble. I’m not a painter, I don’t have any skills like that and more importantly, neither do I have the inclination. I’m not an actor, I don’t like pretending stuff so I’m not going to sit there memorising a script. You’d have to be insane to do that. I can’t even remember my own words, so why would I memorise something that someone else wrote? I just happen to be good at what I do. I discovered a long time ago that I like doing this and I’m good at it… And I can get paid and make a living from it! I don’t make a massive living from it, but I get by. The wolf is not at the door, so what the Hell!’
‘Well, it’s what I’m good at. I’m probably a decent writer, but I find that writing is too much trouble. I’m not a painter, I don’t have any skills like that and more importantly, neither do I have the inclination. I’m not an actor, I don’t like pretending stuff so I’m not going to sit there memorising a script. You’d have to be insane to do that. I can’t even remember my own words, so why would I memorise something that someone else wrote? I just happen to be good at what I do. I discovered a long time ago that I like doing this and I’m good at it… And I can get paid and make a living from it! I don’t make a massive living from it, but I get by. The wolf is not at the door, so what the Hell!’
It’s no secret that David Thomas has had some serious health issues in recent years, but despite these setbacks he has continued to work with Pere Ubu and, in doing so, has now produced one of their best albums to date. Indeed, even if you have never heard them before, ‘Trouble on Big Beat Street’ is just as good a place to begin as any of their older ‘classics’ (The Modern Dance, Dub Housing, Ray Gun Suitcase etc.) Their music is peculiar and idiosyncratic, but it’s also strangely insistent and the more you hear it, the more you will want to explore further.
For further information, you can find most (if not all) of what you need to know at their excellent and extensive website-
www.ubuprojex.com
For further information, you can find most (if not all) of what you need to know at their excellent and extensive website-
www.ubuprojex.com
