Why I Hate Women

Editorial Reviews

All Music Guide - Mark Deming
Pere Ubu's thirteenth studio album, Why I Hate Women, opens with a powerful dose of staccato psychodrama, "Two Girls One Bar," and closes with arguably the closest thing to a boogie the band has ever recorded, the playfully loping "Texas Overture" which offers a joyous aural travelog largely culinary through "the land of the free." So it starts great and ends great -- it's what's in the middle that's often problematic on Why I Hate Women. Though the reason for the title isn't made obvious, Why I Hate Women often detours into stories of problematic relationships, and in David Thomas' world, things become problematic in very interesting ways. In "Love Song," he croons to his ...
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Editorial Reviews

All Music Guide - Mark Deming
Pere Ubu's thirteenth studio album, Why I Hate Women, opens with a powerful dose of staccato psychodrama, "Two Girls One Bar," and closes with arguably the closest thing to a boogie the band has ever recorded, the playfully loping "Texas Overture" which offers a joyous aural travelog largely culinary through "the land of the free." So it starts great and ends great -- it's what's in the middle that's often problematic on Why I Hate Women. Though the reason for the title isn't made obvious, Why I Hate Women often detours into stories of problematic relationships, and in David Thomas' world, things become problematic in very interesting ways. In "Love Song," he croons to his sweetheart "My eyes are growin' tentacles for to grab you/ My eyes are growin' hand grenades for to have you," while in his homage to "Caroleen" he declares "You know her name rhymes with gasoline/ Her perfume, I think it's turpenteen," and "I fear it's you, I hope it's you" in "Babylonian Warehouses" sums up both attraction and dread about as well as anyone could hope. But while this edition of Pere Ubu leans to the musical approach of the group's classic period 1977 through 1982, they aren't as good at generating excitement amidst the waves of oddly constructed sounds; Robert Wheeler's amelodic synthesizer work lacks the internal logic Allen Ravenstine brought to his clouds of noise, Keith Moline's guitar work is expert but rarely cuts as deep as it should, David Thomas' infatuation with odd vocal recording techniques often robs his singing of needed presence, and songs like "Stolen Cadillac," "Blue Velvet," and "Synth Farm" simply meander rather than moving forward. All of which is a shame, because when this band fires on all cylinders -- the cracking "Caroleen," the simple but foggy rock & roll charge of "Flames Over Nebraska" and the ghostly stomp of "My Boyfrend's Back" -- it's clear that Pere Ubu still have plenty of good ideas and both the ability and the enthusiasm to execute them. And even on a flawed album, that's more than you can say about 90-percent of bands working these days, let alone one that's been together for three decades.
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Product Details

  • Release Date: 10/3/2006
  • Label: Morphius Records
  • UPC: 711574602728
  • Catalog Number: 6027

Tracks

Disc 1
  1. 1 Two Girls (One Bar) (3:38)
  2. 2 Babylonian Worehouses (4:27)
  3. 3 Blue Velvet (5:50)
  4. 4 Caroleen (4:33)
  5. 5 Flames Over Nebraska (3:08)
  6. 6 Love Song (6:08)
  7. 7 Mona (2:47)
  8. 8 My Boyfriend's Back (0:58)
  9. 9 Stolen Cadillac (6:12)
  10. 10 Synth Farm (3:01)
  11. 11 Texas Overture (6:10)
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Album Credits

Performance Credits
Pere Ubu Primary Artist
David Thomas Vocals, Group Member
Robert Kidney Guitar
Andy Diagram Trumpet
Rodolphe Burger Stylophone
Steve Mehlman Drums, Clavecin, Wood Block, Group Member
Robert Wheeler Synthesizer, Theremin, Group Member
Michele Temple Bass, Vocals, Group Member
Jack Kidney Harp, Tenor Saxophone
Keith Moline Bass, Guitar, Background Vocals, Group Member
Technical Credits
Pere Ubu Composer
David Thomas Producer
Paul Hamann Engineer
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