'18 Monkeys On A Dead Man's Chest' is the companion album to Pere Ubu's Carnival of Souls . '18 Monkeys on a Dead Man's Chest' completes the first cycle of two pale boys albums and is a lynchpin between the two pale boys and Pere Ubu projex. The Chinese Whispers methodology had been tested and was ready for its final stage of implementation, which was going to be within the Pere Ubu structure. The stories and characters, as well as musical ideas, were taken up again for COS and, for that reason, '18 Monkeys on a Dead Man's Chest' provides key elements of the backstory and is essential to the 'getting' of 'Carnival of Souls.'
David Thomas and the two pale boys generate strange and beautiful new shapes, rolling stories, and sonic panoramas out of spontaneous deconstructions created with brass, guitar and electronics. The simple seesawing of a melodeon gives way to cascading electronica and expressionistic soundscapes-- sometimes pulsating and abrasive, sometimes mysterious and exploratory. Through it all is woven the mordant wit of one of the most distinctive and charismatic singers in modern music, Pere Ubu founder David Thomas.
'18 Monkeys On A Dead Man's Chest,' their third studio album, takes the group's extraordinary sonic lexicon, the trademark soundscaping of electronic trumpeter Andy Diagram and guitar/synthesist Keith Moliné , and injects it with a furious rock urgency. Check the zigzagging riffs and knife-edge angularity of the blistering "Numbers Man." Look, ma, no drums!
As with its predecessors, '18 Monkeys...' is a sonic novel stretched across a non-linear, non-narrative compendium of hieroglyphs. The sense of a drama unfolding is a product of the improvisatory nature of the band's approach to recording. At the end of a Chinese-whispers-like chain and a process that reflects the seat-of-the-pants theatricality of their concerts, the songs of "18 Monkeys On A Dead Man's Chest" were compiled in the studio from extemporised performances which are, subsequently, deconstructed, reconstructed, re-amped, and reconfigured. The left hand never knows the business of the right hand.
Habeas Corpus is a terrifying, coiled mystery, while the explosive New Orleans Fuzz rides a groove so oozing and swollen it seems on the point of haemorrhage. Sad Eyed Lowlands recasts the "thin, wild mercury sound" that Dylan was chasing on "Blonde on Blonde" with results every bit as mesmeric and compelling.
Elsewhere the group fashion mesmerizing ghost-worlds of shifting perspectives with the splintered micro-drama of Nebraska Alcohol Abuse, the epochal Prepare For The End," and the noir-ish tandem of Little Sister and Golden Surf. Everywhere are surprising details and unique textures-- Mr Diagram's shivery brass-vocalese, Mr Moliné's feral violin embellishments, Mr Thomas's wheezing, fragile melodeon.
Mr Thomas himself is perhaps more lyrically reflective and revealing on "18 Mnkeys...", exploring the twin psychologies of personal loss and collective myth, rooting his findings in the specifics of a very personal American geography. Time and again he eschews the obvious in his vocal delivery, adopting an incredible range of unexpected approaches and radical voicings over the course of the album's nine songs. The sparse, yearning highlight, Brunswick Parking Lot, whose bitter nostalgia manages to be both heart-rending and hilarious, is the still point at the heart of this ravaged and ravaging album.
Surf's Up!" (2001) was the group's second studio album. The Wire said of it, "Recalls and then surpasses Swordfishtrombones period Tom Waits. Indeed, he shares with the film maker David Lynch the ability to parody a genre while simultaneously unlocking its forgotten power... Amazing" The Wire also raved about EREWHON (1996), the group's debut, describing it as "red-blooded, haunted and literally fantastic." "Mirror Man" (1999), a live recording featuring the group expanded to be David Thomas and The Pale Orchestra, was praised widely and enthusiastically. Mojo called it a "tour de force." It is the soundtrack of Mr Thomas' rogue opera that toured in the UK with Linda Thompson, Jackie Leven, Robert Kidney and others. In 2003 it had its US premiere in Los Angeles featuring Syd Straw, Van Dyke Parks, Robert Kidney, Frank Black, George Wendt and others.
David Thomas is the founder of avant-rock legends Pere Ubu . The two pale boys (2pbs) are Andy Diagram (trumpets & electronics) and Keith Moliné (guitars, violin & electronics). Andy, a member of James in the early 90s, has played in a number of influential groups, including Dislocation Dance, The Diagram Brothers and The Honkies. Currently he plays with the 2pbs and his own group, Spaceheads. Keith refuses to play in rock (or jazz) bands. His approach to music derives from "a careful diet of high-art electronica and low-art Goth." He is currently playing with They Came From The Stars I Saw Them and has also worked with Infidel and Mesmerist.
The design of the '18 Monkeys...' package is the work of John Thompson / idrome . Mr Thompson has designed all but two of the Pere Ubu albums since 1977 and all of the David Thomas albums.
David Thomas and two pale boys
David Thomas - vocals, melodeon, musette
Keith Moliné - guitar, electronics, bass, violin
Andy Diagram - trumpet, electronics
Produced by David Thomas
Engineered by Paul Hamann at Suma
Recorded by David Thomas and Andy Diagram in Hove and Hackney
Package design by John Thompson/idrome
Remixed at Suma by David Thomas and Paul Hamann on September 24 and 29 2014.
BBC's Album of the Week for April 5 2004
"Strange, compelling, terrifying and great."
Cabin-Whipped, Ren Scarab, 9/16/04
"Nothing else to compare this to, really. It's ethereal, but not psychadelic, soft and smooth, but not soothing, experimental, but not inaccessible... Strange and terrifying, and right there on the verge of becoming something other than music." "Scary and wonderful." - Peter S. Scholtes, Minneapolis City Pages, 10/22/4
"Brilliantly deconstructive." - The Stranger Oct 14 2004
"A genius for assimilating traditional musical styles-- various types of folk, gospel, country, rock, and especially blues, without a shred of condescension or nostalgia, twisted this way and that, recombined, kicked into the future here, the antediluvian past there." - Rod Smith, Seattle Weekly Oct 13-14 2004
"A wider, more disorientating terrain that exists way beyond the stifling, intimate concerns of rock 'n' roll... a feeling of faint existential terror." - The Wire, April 2004
"Nothing else to compare this to, really. It's ethereal, but not psychadelic, soft and smooth, but not soothing, experimental, but not inaccessible... Strange and terrifying, and right there on the verge of becoming something other than music." - Cahin-Whipped, Ren Scarab, 9/16/04
"Astoundingly dark and harrowing yet ultimately breathtaking... At times, '18 Monkeys...' beggars belief in its ability to meander from three chord punk'n'roll to Polanski-esque film scores and the downright disturbing" - Drowned In Sound, Dom Gourlay, March 2004
"It's good to have to wrestle with an album and win something worthwhile." - Rock City, 3/26/04
Album of the Week at Elefterotypia (Greek best selling daily), "Like Captain Beefherat before him, Thomas deconstrucks rock music and creates something new and radical...this is music for passionate music lovers and not for pop consumers."
"David Thomas réussit là une de ses plus belles annexes. C'est déjà sa troisième association aux Two Pale Boys, mais la mixture instable fonctionne aujourd'hui comme elle n'a jamais bouillonné. Cuivres, violons, voix déchirées, guitares bien sûr, tous les éléments se croisent, fusionnent, sans se télescoper. Si la trompette, l'accordéon, l'amalgame chaud-froid, l'avant garde sont des notions qui vous mettent en fuite, écoutez donc cette fusion neuve avant de prendre le large si besoin." - Les Inrockuptibles