Music Review: Bauhaus - The Sky's Gone Out

Call it a cop out or the sign of an incredibly dedicated fan, but here we are again with another review of a Bauhaus album. This time, I will talk about the third full studio album offered by the group in 1982, The Sky's Gone Out.

Album cover art for The Sky's Gone Out

Other reviewers before me have given this album a positive enough review but dock it for 1) being much more dark and negative than the preceding studio album, Mask, and 2) being an odd mix of individual songs that stand out on their own but don't really connect to make a complete sounding and feeling album.

From my perspective, yes, The Sky's Gone Out is much darker than my favorite Bauhaus album, Mask. But hey, we goth-y sorts love that kind of thing, right? Yes, yes we do. And I think there is something to be said about albums with strong, individual songs, that don't necessarily flow into one another. Not everything needs to be a concept album, telling a story from start to finish through several songs.

Bauhaus. Left to right: David J (bass), Kevin Haskins (drums), Peter Murphy (vocals), Daniel Ash (guitar)

The Sky's Gone Out opens with a cover of Brian Eno's "Third Uncle." Admittedly, I hadn't gotten into Brian Eno until more recently (I certainly heard this cover well before hearing the original). I also admit to being incredibly picky about covers. Most covers, in my mind, are sub par at best. There are the rare few that are decent, but the original is still better. And then there's the category this cover falls under - covers that are just as good if not BETTER than the original. I like Brian Eno's work, but I actually love the Bauhaus cover more than the original. Then again, I think I like every Bauhaus cover more than the original song...though the cover for "Ziggy Stardust" and David Bowie's original are on roughly equal footing for me.

The second track, "Silent Hedges," is a song I always enjoy seeing performed. The passion that comes through, the constant point to the ground to symbolize "the beautiful downgrade" and "going to Hell again." It's such a wonderful song and has been a favorite of mine for a long time. And for those that like all the gloom and doom, tell me a lyric like "Burning the private paradise of dreams/madness at the hands of the electric clock/what happens when the intoxication of success has evaporated?" doesn't send chills down your spine? Easily my favorite part of the song.

Peter Murphy at some point in his solo career (probably in the 80s?)

The third track is "In The Night." For whatever reason, I didn't used to give this song any attention. I'd often skip it. Then a couple weeks ago, I just listened to it fully. And I felt like I got slapped in the face by reality and woke up to something sensational. The song starts off relatively slow and transitions into a song more similar to post-punk's predecessor genre - punk. The schizophrenic nature of this song with some beautiful (yet dark) lyrics makes this such a great track. Should Peter Murphy ever play this one live, I imagine the entire audience, regardless of whether they know the lyrics to this one, would go absolutely bat shit crazy. The likelihood of this happening is probably slim to none, but I can only hope I'm there for that moment.

Skipping over the fourth and fifth tracks (the fifth track being a special number with a good one minute plus at the end repeating "we love our audience!" which could very well be a nod to all the critics out there that consistently gave Bauhaus poor reviews), we come to "The Three Shadows" parts 1, 2, and 3. The first part is a haunting instrumental. I think Peter Murphy opened with this one when I saw him at the Moody Theater here in Austin in November 2011 (I know it was one of the three parts and most sources say it was part 2, but I don't remember him singing any lyrics and the intro music was very long while part 2 doesn't have all that much a musical intro before the lyrics begin). Part 1, to me, is just one of those songs that sends chills down your spine (I'm listening to it as I write this part, and sure enough...chills down the spine). Some parts of this song actually remind me of the more musical elements in some of Peter Murphy's solo work (perhaps a hint on some work on Dust and Holy Smoke). You want a quintessential goth song? Here it is.

Part 2 is, according to Peter Murphy in recent interviews, a song he wrote and composed wholly (recall, most Bauhaus songs he had parts in writing lyrics and music, but he was not the predominating force). This song has the feel of something from the 1800s. Some dapper gentleman, sitting in a bar, sipping at whiskey, thinking of some prostitute. I don't know. Maybe that's a little too literal a reading of the starting lyrics. But it's almost a statement, to me, of the death of the noble gentleman and how the speaker of the song is pulled into the middle of the rat race but will always exist. I openly admit I'm not so great at interpreting song lyrics. But, there is something exquisitely dark in this song that I can't fully put my finger on.

I will finish with discussing "All We Ever Wanted Was Everything." This is a fairly simple song musically consisting of just guitar (mostly acoustic until about half way through), some drums (half way into the song), bass/violin (I think the recording uses a bass while it is performed live with a violin), and vocals. As Peter Murphy explained to the crowd during the Mr. Moonlight tour at I believe Dallas (maybe Austin? I forget), this song was inspired (musically) by the first chords he learned to play on guitar and that he wanted to write lyrics around that. As for the song's meaning, I interpret the lyrics as a statement of the beginning days for the band: "All we ever wanted was everything / all we ever got was cold / get up, eat jelly / sandwich bars and barbwire / squash every week into a day...oh to be the cream." To me, it all began as this desire to have everything - the fame, fortune, happiness, acclaim, fans, etc. But, as with all new things, you start at nothing. And in basically creating a new music genre, you have the added difficulty in having to sell that vision to people. So, you may want everything, but you end up getting only cold. You're poor, so you eat PB&J and the barbwire bitter words of critics (there are pictures of, if I remember correctly, Kevin Haskins ripping newspaper reviews of Bauhaus albums to shreds because the reviews were incredibly negative). And you have to work hard, move fast, and effectively squash a week of life into a day. And then there's still that dream fantasy..."oh to be the cream." Effectively, oh to be the best part of it all. The richness, the decadence, the cream.

Peter Murphy again, but sporting blonde hair! This was probably late 80s to early 90s when the Deep album was released

On the whole, I'll agree with the reviewers I mentioned earlier. Yes, this is a dark album. It is dark musically, and it is dark lyrically. Its delivery leaves no mistake to be made about first impressions. There is evil and nastiness in the world and this album points it out to you. Additionally, yes, the songs don't exactly flow together perfectly. The final song on the album, "Exquisite Corpse," is probably the most schizophrenic song I have ever heard, it itself not flowing perfectly from one section to the next. But, as I also said, I think there is something to be said about an album of strong songs that points out, perhaps, the disconnected nature of life and human interaction. While still not my favorite Bauhaus album, it is certainly a sensational trip. I don't think I could give just one answer for the most gothic album, but this would certainly make the list of albums that defines our little subculture.

Rating: 4.5 out of 5 (just because the reggae part in "Exquisite Corpse" ruins that amazingly chilling song...I love the guitar work in that one, but man the reggae part...just no)

More information: Official Site of Bauhaus Official Site of Peter Murphy

Concert Review: The Bellwether Syndicate 4/20/13

Back on April 20th as part of Convergence XIX (alt.net's large party of all things goth that travels from city to city every year for the last 19 years) in Austin, I had the pleasure of seeing The Bellwether Syndicate perform.

The Bellwether Syndicate. Left to right: Mike Skull (bass guitar), Scary Lady Sarah Rose (guitar, backing vocals), William Faith (vocals, guitar), Philly Peroxide (keyboards, percussion)

Many of you reading this have heard of William Faith. He has been an instrumental figure in much of the goth music scene having been part of Rozz Williams' Christian Death, Shadow project, Mephisto Walz, a one-off performance with the Sex Gang Children, and, of course, Faith and the Muse (that one seems fairly obvious). Faith returns with a new kickstarter project (literally) with Chicago's infamous DJ Scary Lady Sarah Rose, The Bellwether Syndicate.

Currently, the group have only released on their own Bellwether Underground label an EP of five songs entitled the Night Watch EP. Without turning this into a music review, I will go so far as to say the first three tracks on the EP are similar to each other, fast paced deathrock influenced tracks that are catchy as can be. The fourth track is very different, a bit slower, yet still impressive. The final track showcases both Sarah Rose's guitar work and vocals. It's also quite a bit different from the other four tracks, but demonstrates the immense talent the group brings to the table.

For the performance at Convergence XIX (which was apparently the third or fourth live performance for the group ever), the group began with track one from the new EP, "All Fire." Mind you, I was excited as could be for this performance because we're talking William Faith here. The way all four members took the stage was telling in of itself. They were humble. Smiles all around, ready to have a great time sharing their music with us. No air of arrogance like they were entitled to everything. Just good nature fun ready to take hold. Once they started into "All Fire," I was hooked. It was some small fortune that the dance floor was a bit packed, for if it hadn't been, I would have been the definition of "bat shit crazy."

Following "All Fire" came my favorite off the EP, "Night Watch." The song is just incredibly catchy. What I find so interesting in the manner with which Bellwether Syndicate performs is that the music and words give off plenty of energy. Playing guitar and singing, both William Faith and Sarah Rose are a little stuck with where they're at on the stage. Yet, you could tell both were incredibly into their performances. They wanted to be there. Philly Peroxide, while in the back, was still a strong force to be reckoned with (though similar to Faith and Rose, he was a bit stuck where he was while performing on the keyboards). Mike Skull was about the most mobile of the four, moving a few paces here and there while absolutely rocking out on the bass guitar. By this point I was fully sold.

A photo of Bellwether Syndicate roughly a week later at the Whitby Gothic Festival

"101 Go" was next, another solid and catchy song. From here, Faith took a moment to thank everyone for coming and for allowing Bellwether Syndicate to be part of C19. He then introduced the next song as one in the memory of a good friend and that we truly all are souls in isolation. That's right, a cover often done with Faith and the Muse, the Chameleon's "Soul in Isolation." Often, I am very critical of cover songs. Rarely do I find ones I enjoy. Even rarer are the ones that are just as good, and sometimes even better, than the original. This is an instance where I think the cover might just be a tiny bit better than the original and I personally love the Chameleons! Suffice to say, we all went a little bat shit crazy by this point.

The group finished their set with track four off the EP, "Translucent." Personally, I would have loved for the set to go on all night. Five songs simply was not enough. Once the group left the stage, I quickly snagged the one and only copy of the setlist with the hope of meeting the band members and getting it signed.

Allow me to say that William Faith is probably one of the nicest and most delightful people I have ever had the pleasure to meet. You saw all those bands I told you he was part of? Let's just say this man, much like Peter Murphy, is a gigantic name in the goth scene. He could be arrogant and rude and no one would think twice of it. Instead, he was very nice, glad I enjoyed the show, happy to be there, etc. He also happily signed my setlist.

Additionally, Scary Lady Sarah Rose is another wonderful person. She seemed almost confused as to why I'd want her autograph! After signing the setlist, we talked some about the show. I told her she did a fantastic job (which I thought she did, and she seemed so happy to be on stage!). She was then telling me how she was actually incredibly nervous and how this was about her third time ever to perform in front of an audience like this. She also mentioned how the fifth track on the EP was one where she sang and played guitar, but that they didn't play it that night since it's a bit hard to sing and play guitar at the same time. I was just amazed at how chill and honest she was about everything. I thanked her again and told her they should come back to Austin again soon.

All in all, five songs is an incredibly short set. But, to be that catchy and engaged in such a short period of time is a talent alone. And to play wonderful music, too!? That night I became a big fan of this new project and have since found myself getting more into Faith and the Muse. I really do hope they return to Austin soon with even more music to share. There is something truly special in this group and I'm very happy to have witnessed it during C19.


Rating: 5 of 5

More information: Official site of the Bellwether Syndicate

Music Re-Review: Bauhaus - Go Away White

A little over a year ago, I wrote a review on the last offering from legendary post-punk band, Bauhaus, 2008's Go Away White. (You can read that review here)

Since that review, I have listened to Go Away White a bit more and find my view of the album to have changed a bit. So, I felt a re-review was of the essence to explain my new thoughts on the album and perhaps a little of what has changed my view on it.

Bauhaus, as they looked around the time of Go Away White. Left to right: Daniel Ash (guitar, backing vocals), Kevin Haskins (drums), Peter Murphy (vocals, other instruments on occasion), David J (bass guitar, backing vocals)

I won't review the history of the band again. Suffice to say, the band has undergone three major periods - the original period from 1978 to 1983 where the majority of the music was written, recorded, and performed, the 1998/1999 Resurrection reunion tour which spurred the Gotham CD/DVD but no new material from the group, and the 2005-2008 period that resulted in Go Away White as the final offering from the group and minimal touring opening for Nine Inch Nails (the former in 2008, the latter in 2005/2006).

Recently, Peter Murphy has undergone a massive tour to celebrate 35 years of Bauhaus existing. In the past, he would play a few Bauhaus songs in his solo sets as they fit in, providing an indulging experience for fans who weren't quite expecting the rare treat. But, 35 years and the kind of influence, albeit rather underground, that Bauhaus has garnered shouldn't go without notice. So, the tour, dubbed the Mr. Moonlight Tour, features Peter Murphy with his solo work band members playing a full Bauhaus setlist. There is no "Cuts You Up," no "I'll Fall With Your Knife," and certainly no "Peace to Each." Just a divine combination of the Bauhaus hits every fan knows and loves and lesser known beauties that only the most extreme of fans would know all the words to.

Peter Murphy and the ever talented Mark Gemini Thwaite on guitar at the Granada Theater in Dallas during the Mr. Moonlight Tour. I'm also 99.9% sure this photo was taken by Bill Ellison at the Granada.

I will endeavor to write a concert review surrounding this tour at a later time. The point I am getting at here, however, is that on this tour, certain songs from Go Away White have made their appearances. And it is in this context of a full Bauhaus set, hearing some of those songs for the first time live (first time for me), that something has clicked into place.

Years ago, the very first time I saw Peter Murphy perform (June 2009, Emo's outdoor stage in Austin on 6th street and Red River) he busted out "Too Much 21st Century." It struck me as odd that he needed a piece of paper with the lyrics on it. After all, the album had been out for a year and was relatively fresh. Of course, in retrospect, I perhaps take for granted the fact that a person like Peter Murphy with such a prolific career and countless lyrics remembers the vast majority so well. And if he wasn't planning to play those songs every night, it becomes easy to see how someone wouldn't necessarily remember all the words and perfectly.

As I have remarked and has been mentioned in interviews with the band members, Go Away White draws many different influences that differ vastly from the initial influences that spurned previous albums. Go Away White wasn't exactly intended to be the continuation of the band. It wasn't meant as the big follow-up, years later, to Burning From the Inside. Instead, it was more a meeting of the minds at a middle ground, a junction that brought in their current places in their careers. After all, if you listen to any project from the four following Bauhaus, none really carried the same sort of sound or purpose as Bauhaus.

In "Too Much 21st Century," there's an argument proposed that everything in the 21st century way of living is about wanting more than what you have. Want a better actress, better singer, more money, etc. Instead of being thankful for what you do have, it isn't enough. And there is truth to this argument, I believe. Today's world is incredibly fast paced and often your best just isn't good enough. While I first found this song to be rather simplistic, I now feel there is a certain beauty in that simplicity.

Love and Rockets, the major project of David J, Kevin Haskins, and Daniel Ash post-Bauhaus

The second song on the album, "Adrenalin," was one I never gave much thought to. The lyrics basically describe what adrenalin can do to your body (kickstart your heart, make the finish just the start, etc.). However, seeing the song live in Houston on the Mr. Moonlight Tour and seeing the energy Peter Murphy put into the song, it just instantly grew on me that night. Again, the lyrics are not like the older Bauhaus songs. They aren't poetic or cryptic. They're really there at a more surface level. But something in the music and the rawness of the performance just makes this song incredible.

In the interest of sparing some reading, I won't go over every track on the album. There are still those, like "Saved," that I don't much care for even still. Instead, I will talk some on the last two songs I greatly enjoy from this album.

Track 4, "International Bulletproof Talent," reminds me of some of those old-timey spy movies. Not the ones you take seriously like James Bond, but the sort with the cheesy music and large hats and coats. This isn't to say this song is cheesy and shouldn't be taken with some kind of seriousness. But just to say that the music reminds of that sort of thing, really. It isn't much, and maybe this is a cop-out, but I really like how the music and vocals mesh on this track. Just take my word on it that it's a good one.

The final track I will talk about is perhaps my favorite from the album. "Endless Summer of the Damned" is perhaps the one song on this album that nods back to what Bauhaus's style used to be. I don't mean to say this fits along exactly beside "Bela Lugosi's Dead" or "Terror Couple Kill Colonel," but there are some beautiful lyrics to this song that I simply don't follow. A surface level reading could indicate that this is a commentary against global warming (i.e. "the ultra violet's violent" could be something to suggest that the sun has become more harsh and is harming us), but I suspicion there's more to this than the surface level suggests. Basically, my new found love for this track is based off of seeing it performed in Dallas on the Mr. Moonlight Tour. I distinctly remember getting goosebumps during this song, wondering what it was. I knew it must of been off of Go Away White and when I caught the lyrics of "the endless summer of the damned," I knew it was this song. But my goodness was it amazing! Perhaps what caught me was not just the power in the song itself, but seeing everyone on stage jumping to it and rocking out. There was something very oddly personal and inviting in that moment. I felt very connected to the performance at that moment (not to say I wasn't connected before, but more so).

Dalis Car, the rocky collaboration between Peter Murphy and ex-Japan bassist Mick Karn that spurned one full album in the early 80s, a much too short EP in the mid-2000s, and showed Peter Murphy that he had what it took to be a solo musician, capable of writing songs and music of his own

All in all, this still isn't my favorite Bauhaus album. It may very well still be my least favorite (though it is at least gaining ground on Burning From the Inside). But as I listen to it more and understand the state of mind all four members were in at the time, I begin to appreciate the album more and more for what it is. The members often describe the writing and recording of this album as spontaneous. First takes were used as the final cuts. The album was wrapped in 18 days. Much as every breakup of the band was essentially spontaneous, it should be fitting that their last contribution together would be as well. Peter Murphy has also said how he felt the timing was right for this to be the end. He had tried a few times to bring the band together again with no avail. He felt the other three were just tired and could no longer keep up. Perhaps on the outset, those words seem very harsh, but I believe there is truth to them. Merely ask yourself who the driving force of the band was. Who brought them together repeatedly? Who has had the longest and most prolific career? Who is still going strong? Peter Murphy. Sure, this may not be the end many long standing fans of the band were hoping for. In honesty, is it fair to say any of us were even hoping for an end? Probably not. But, all things taken, I feel this may have been the best end for the band.


Rating: 4 of 5

More information: Official Bauhaus website, Official site of Peter Murphy