2016 has been a busy year for Seattle-based goth rock group Strap On Halo. In January, the group released Prayers For The Living (an eleven-track album featuring seven brand new songs and four previously released songs that had been re-recorded and re-imagined). The summer was largely spent writing and recording a new four song EP, Altar Of Interim, and planning out a tour of both the US and Europe. And that only gets us to August!
Strap On Halo (L-R): Layla Reyna, Sean Rial, Marc Jones
Strap On Halo's prior work has melded elements of the original 80s post punk "goth" bands such as Siouxsie and the Banshees and lesser-known Xmal Deutschland with more modern sentiments from acts like Italy's Spiritual Bat, Skeleton Family, and the March Violets. The main trademark of Strap On Halo's music is the mixture of fancy guitar work from Sean Rial over the driving, yet subtle, bass lines provided by Marc Jones meshed to the always smooth and soaring vocal performance of Layla Reyna. With this backdrop in mind, we put needle to wax (metaphorically...this EP is not available on vinyl) and give it a spin.
The EP opens on "Perish" and immediately sets the tone for what's to come. The song has some parallels to Turkish darkwave band She Past Away (particularly "Sanri" off the first album) but with a stronger, more pronounced guitar riff that brings a tinge of early Sisters of Mercy to the plate. After a bit, Reyna's voice joins in, providing a textural contrast to the music. The change in lyric rhythm between the first and second verses works nicely (it caught my ear and made me go "oooh" when I first heard it). Without spending forever on just this one song, "Perish" certainly exceeds expectations and excels at drawing the listener in for more.
"Shiver" starts off with percussion only before the guitars enter, bringing a little bit of the early 80s Cure sound with it but heavier on the delay. Reyna's vocals again provide an interesting textural contrast to the music, being slightly succinct compared to the flowing guitar. A solid song in its own right, "Shiver" is closer in some ways to some of the prior Strap On Halo material.
Third on the EP is "Crimson Waves" which is closer to "Perish" in form and delivery. The music is very catchy and immediately sticks with the listener. Truly a song which melds the original goth wave with the new, this song is a gleaming example of how to keep the genre fresh without alienating its past. Without having anything further of merit to add to the discussion, I do hope this one makes it to the setlist.
The EP ends on "Fearless." Musically it's some mixture of Sisters of Mercy meets Christian Death infused with March Violets (you have that distorted guitar sound, the heavier/chunkier chords, but somehow its a lighter/happier...for being goth, work with me here...sound). Lyrically a bit more sinister than other songs, "Fearless" does hold true to the title by not holding back. An interesting song from a musical standpoint, it rounds out the EP on a very strong note.
Overall, yet another strong showing from Strap On Halo and a good combination of their signature sound with some new experimentation to boot. The group have just kicked off their Altar of Interim Tour of the US and stop by Double Wide in Dallas, Texas, on August 17. Tickets are still available, so don't miss out! In September, Strap On Halo go overseas for the first time to rejoin 2014's Near Dark Tour headliners The Last Cry for the Near Dark Over Europe Tour. There's no telling what will be next for these guys, so keep an eye and stay tuned!
As 2015 comes to its close and we look ahead to 2016, it's time to do the cliched task of recollecting the albums released in 2015 that we enjoyed. These are not presented in any particular order, but these were some of my favorites. What were some of your favorite albums!?
Duran Duran - Paper Gods
Duran Duran - Paper Gods album cover
Duran Duran returned this year with Paper Gods, an album that proves they still have "it." The album is a rich combination of what Duran Duran was most known for in the new wave/new romantic period of the 80s mixed with a refreshing flourish of pop bravado common to today. Like many 80s bands, Duran Duran still falls victim to the trend of trying to rediscover themselves, failing on the first couple attempts, but then reclaiming that flame with the newest album. For Duran Duran, Paper Gods is the reclaiming album they and fans alike have been looking for. We'll have to see what comes next for the group, but hopefully this is just the beginning of a strong upward trend.
Chelsea Wolfe - Abyss
Chelsea Wolfe - Abyss album cover
We reviewed Chelsea Wolfe's newest album a while back and it has only continued to grow on our ears. Easily her heaviest album yet, Abyss is a concept album of sorts that revolves around the phenomenon of sleep paralysis. Dark, brooding, moody music set to guiding vocals characterizes much of the album. Not only is it the heaviest album by Wolfe to date, but it may well be the most solid. Given how great this album is and previous effort Pain is Beauty, the only place for Wolfe to go is up, regardless of whether the music continues to get heavier or is reigned back. Added bonus - the live show is really strong and Wolfe is such a delightful performer. You're missing out if you've yet to see her on the live stage.
She Past Away - Narin Yalnizlik
She Past Away - Narin Yalnizlik album cover
She Past Away returns with their second album, Narin Yalnizlik. The Turkish darkwave group (yes, Turkish, and darkwave, and lyrics in Turkish!) makes a strong showing on this album, experimenting more with sounds and textures than they did on their debut album. While on the whole I prefer the debut album, this one is not an album to snub your nose at. She Past Away keeps a firm hold on their 80s darkwave roots (similar in ways to Xymox/Clan Of Xymox), meshing broken Turkish lyrics to a lush musical backdrop. The group finally reaches the US for a couple quick stops in California early 2016, but this is hopefully just the beginning of the group's foray into the US.
Killing Joke - Pylon
Killing Joke - Pylon album cover
Another album reviewed earlier this year here, Killing Joke returned full force with Pylon. Easily their strongest album in years, Pylon meshes the post punk aesthetic Killing Joke helped pioneer in the late 70s/early 80s with heavy distortion and an industrial feel characteristic of the group's more recent efforts. Almost their highest charting album ever, Pylon may well be the best album of 2015, for me at least. The group tours the US in 2016, hitting Texas towards the end of January.
Peter Murphy - Remixes From Lion
Peter Murphy - Remixes From Lion album cover
It wouldn't be a year it I couldn't write something about Peter Murphy, now would it? The Godfather of Goth (I can see his eye twitching at me saying this, but I didn't pick the title!) released a follow-up album of unused material from the Lion sessions. Most of the remixes offer an interesting reinterpretation of tracks from the main album. Better yet, the album includes the previously vinyl-only track "Gabriel" in all its multi-layered glory and a very solid series of newly released "The Sound of Water" and the Youth remix of "Loctaine," the one remix I think I may actually like more than the original (though the original take of "Loctaine" is also very strong and a favorite of mine). 2015 was a strong year for Murphy, even if quiet, in a sense. In addition to the Remixes album, two live albums were also released (the full audio from the Mr. Moonlight Tour as one and finally an official recording of the House of Blues show from April 2000 via Cleopatra). However, Murphy only played a handful of dates in June in California. By all accounts, 2016 may be a very loud year for Murphy, starting with a major role in the upcoming psychological thriller BlackGloveKiller.
Hailing from Omaha, Nebraska, Strap On Halo are one of the newer goth rock bands that holds on to many of the sentiments of the genre's 80s and 90s founders (being a healthy blend of some of the musicality behind Christian Death, Xmal Deutschland, Siouxsie and the Banshees, and even a sprinkling of groups like Skeletal Family and March Violets). But, often, the alternative music scene, especially the darker gothy side, isn't one that evokes feelings of Christmas. Surely, when December comes rolling around, we must don our all-black drab and hang black tinsel on a black colored tree with a raven for the tree's demented star? Strap On Halo's upcoming release, Ode to Krampus, reveals just how goth rock can tackle the spirit of the giving season.
Strap On Halo's Ode to Krampus is finally coming to vinyl in 2015
"Ode to Krampus" was originally recorded in 2013 but is now receiving a physical vinyl release for the first time. The song opens with a melancholy piano part coupled to a driving drum beat and a sprinkling of guitar work from Sean Rial. Layla Reyna's haunting voice enters the mix, beginning the ode to Krampus. The chorus is introduced with a gorgeously held note, "Run...as fast as you can." Musically, the sound of mystery and allure is retained, complimented nicely by the work of Marc Jones on bass - subtle, yet every bit as important as the vocals and driving piano.
The song continues on in this fashion, ending mysteriously enough after three minutes and change of play. Strap On Halo maintain their traditional gothic sentiments on this one, painting an auditory picture of the darker side of Christmas. While not everyone's cup of tea, this is one to surely make the goth in your family a little happier this season.
Strap On Halo. Left to right: Layla Reyna, vocals/drums/keyboards/arrangements, Sean Rial, guitar, and Marc Jones, bass
Ode to Krampus will be released later this month and is strictly limited to 25 copies which include a 3.5" round sticker and a handwritten lyric sleeve with the clear 7" vinyl itself. Pre-orders are now live through the Strap On Halo bandcamp site. The group will also be releasing their newest album, Prayers for the Living, in January of next year with a mini tour of the United States in the works. They're a fun live group and delightful people to talk to, so catch them if they come to a city near you!
Chelsea Wolfe returns with her newest experimental art-meets-rock album, Abyss, building on the successes of prior albums like Pain is Beauty (2013). Those seeking the short form need look no further - Abyss is another strong showing from Wolfe and you would be reminisce to merely dismiss it as art rock noise.
Chelsea Wolfe - Abyss (2015)
Nailing down Wolfe's work depends largely on which album you choose to listen to - from experimental post-industrial sludge to deeply brooding neofolk with nearly everything imaginable between, Wolfe has consistently gone for complete artistic freedom and an unwillingness to do the exact same thing every time.
Abyss is easily the darkest of her albums yet, and the first to truly bring to the forefront the flecks of metal genre influence that have been sprinkled sparingly in past albums. Where it was a subtle hint adding to the rich musical landscape in the past, those tones now growl to life as a barrage of doom and gloom guitar distortion that can only be described (by me, anyways) as industrial sludge (said with full affection and praise).
Chelsea Wolfe has always walked the fine line of goth aesthetic without plunging fully into it musically. That all changes with Abyss. Photo by Johanna Torell.
Another refreshing twist in the landscape of Abyss is an immediacy with each song. Wolfe's vocals are, as always, spot on and powerful, even as they serve in stark contrast to the music (clear perfection against a backdrop of sinister distortion). These are songs meant to be immersive from the start, not taking their time to build and grow into something. Where Wolfe's prior work certainly carries that indie "take it or leave it" feel, Abyss comes off being the first album to truly draw in the less musical savants among us.
Abyss, based around the concept of sleep paralysis, opens with "Carrion Flowers" and immediately throws the listener into that panic state of being unable to wake up, fighting to escape, before lightening up towards the end, resembling a moment of briefly waking and escaping the dream. As "Iron Moon" begins and immediately returns to that harsh panicked state, we lapse back to sleep and find ourselves surrounded by the nightmare once again. Other tracks of particular notice include "Dragged Out" with a particular haunting, ghost-like quality at the end, "Grey Days" for its more reserved feel and driving cello as Wolfe sings about the River Styx, and "Color of Blood" for its initially gloomy and persistent moody atmosphere molded around Wolfe's notion that we should all "Grow old, let [our] hair grow."
Throughout the album, Wolfe serves as the guiding light through the periods of unease, wakeful fits of hope, and vast depths of darkness. In the deluge of post-80s "gothic rock," so much of what is called goth has become mired in terrible cliches and drab (no pun intended) melodramas, perpetuating ages old stereotypes that none of the original art-meets-glam-rock bands would have endorsed. Wolfe brings the artistic expression back by creating a musical embodiment of sleep paralysis through a combination of visual lyrics, rapid shifts in music from panicked and schizophrenic to calm and comforting in the blink of an eye, and a voice to guide the dreamer through the nightmare they've embarked. Though not strictly a concept album, Abyss does a near flawless job of transforming the listener from start to end. While it won't be everyone's cup of tea, this may easily be Wolfe's strongest showing to date. And if her attitude is any indicator, this is just the beginning of what will surely be a long and lasting ride.
Wolfe returns to Dallas (fun fact, Abyss was actually recorded here in Dallas) at the Kessler Theater this Sunday (September 20,2015) with Wovenhand as openers. Tickets are on sale now (purchase tickets from the Kessler Theater). By all accounts, this won't be a show to miss.
It's been a long time (general business with a long term web project I've undertaken and going back to school), but some of you have asked, and so here I am with a new addition to the music reviews! It's been a major buzz topic these last couple weeks, but today we'll look at Siouxsie Sioux's latest musical offering, "Love Crime."
Siouxsie Sioux
For those who follow the post punk genre as I do, the name Siouxsie Sioux is unmistakable. She is to the post punk world what Elvis Presley was to rock in the 50s. Always one for a distinctive style, be it in physical appearance, musical style, or witty comebacks during interviews, Sioux has always embodied a particular penchant for reinvention in each music project she's endeavored. From the seminal work as Siouxsie and the Banshees, arguably one of the defining bands of the 80s British post punk offerings, to the percussive-heavy project The Creatures, to an eclectic yet familiar powerful first solo album, Sioux is perhaps one of the very few artists who does great things regardless of the project, having yet to make a large musical mishap.
As it were, following a strong debut solo album (2007's Mantaray), Sioux would essentially drift off into the shadows, making small appearances here and there as a reminder that she's not gone, just hiding. Brooding. Much with David Bowie's mysterious ten year hiatus, Sioux would seemingly vanish for approximately eight years. After all that time, the "Ice Queen" returns with a new song, "Love Crime."
Brian Reitzell
Sioux, a fan of the television series Hannibal, was tapped by Brian Reitzell (former drummer of Redd Kross and current musical supervisor and composer for the Hannibal series) with the suggestion of a collaboration. Sioux immediately agreed and inquired what the final season would more or less be about - a love story, as it were. Sioux began writing lyrics without having seen any of the final season or receiving any major details on the overall plot line. What resulted was "Love Crime," the first song Sioux has written and sung in roughly eight years, and possibly the first of many in a line of collaborations with Reitzell.
The song itself is on the slower side, reminiscent in some cases of 1992 Banshees hit "Face To Face" (featured in Batman Returns). It is an eerie song, driven by drums, violin, and bass, before a moving guitar section kicks in behind Sioux's ever refined and spotless vocals. Though cliched as it may be, Sioux is a perfect example of how age can make the voice even stronger and richer than it was already. Listening to this song literally gave me goosebumps. It's a glimpse into what Sioux could have been doing all these years, but has kept pent up instead, evolving and growing into an incredibly strong first showing in eight years. Not that Sioux needs my approval or anyone else's, but "Love Crime" makes a strong argument for her full return to music. Let's just hope that future collaborations between her and Reitzell find their way to a music release...and sooner rather than later.
Today's Music Review will be of Peter Murphy's tenth album (ninth studio), 2014's Lion.
Cover art for Lion
If there is one thing to expect about the "Godfather of Goth," it is to expect the unexpected. Over more recent years, Peter Murphy's career has gone places few would expect - starting perhaps with a turn of the century reinvention that spurred 2002's unique masterpiece, Dust, followed by 2004's return to pop rock form that Murphy had previously built his career on, Unshattered, and ending most recently with 2011's rock triumph full of attitude and energy, Ninth.
Lion, produced by Youth (Killing Joke), is everything you would expect from Murphy at this point and still so much more than you could have guessed. With most of the tracks originally written and recorded on the spot in the studio and in the span of only a handful of days, the album flourishes with an immediacy that makes Ninth feel tame in comparison. Richly sprinkled along the slew of single-worthy anthemic songs are compassionate, emotional ballads that still show off Murphy's rich vocal prowess and beautiful lyrics.
The album opens with the first single, "Hang Up," a synth-heavy song laced with screaming vocals that have been atypical of Murphy's career so far. Afterwards, the album winds into the electro-dance song "I Am My Own Name," which may be Murphy's response to much of the criticism he received in 2013 for endeavoring to do a full Bauhaus tour around the world without the other three original members of the band.
Amid the instantly dance-able songs come slower, passionate pieces that are a bit more reminiscent of Murphy's earlier works, including "Compression," "The Rose," and the soaring "Loctaine." Perhaps a nod back to Murphy's roots in the 80s music scene, songs like "Holy Clown" and "Low Tar Stars" carry the feeling of an 80s new wave song created for the dispossessed (the latter in particular sounding like the dark version of Michael Sembello's 1983 hit song "Maniac").
Lion rounds out with other notable songs "I'm On Your Side" and "The Ghost of Shokan Lake." "Eliza" is a slight change of pace for Murphy, not focusing so much on forms of love, introspection, and religious ideologies, but instead on the idea of leaving self-blame behind, being yourself, and celebrating life.
Murphy's tenth album ends with the title track "Lion," which has a lofty, atmospheric background music to fill in around Murphy's lush, deep vocals, creating a song that alludes to some of the many qualities of an actual lion - powerful, majestic, and encompassing. While not a fast, hard hitting song to round out the album in a fashion of how it started, "Lion" leaves the listener with a feeling of completing a musical journey guided by Murphy through introspection, religion, history, and even a glimpse into the future.
Lion is the rock-dominated album many would expect of him following Ninth. Given his desire on the previous album to prove a point of existence and importance, Ninth was in some regards the album Bauhaus never made, serving to assert Murphy's place as a solo musician and a rock star. Lion is the vastly more experimental follow-up to Ninth now that the audience and self-imposed (to some extent, at least) expectations of the former Bauhaus-frontman are squashed. What comes next only Murphy knows, but Lion may well be one of the best works he has done to date, combining much of what he was originally loved for during the Bauhaus years, the complex lyric writing that has persisted throughout his solo career, and an ingenious musical progression that is neither forced nor completely alien to long time fans. This album will certainly be on repeat for a long time to come.
Peter Murphy will be joined by current band members Emilio "Zef Noise" China (bass guitar, violin), Andee Blacksugar (guitar), and Nick Lucero (drums) for a tour of North America to support Lion that begins June 9, 2014 in New York. Peter Murphy visits Austin at The Belmont on July 29th with local favorites My Jerusalem providing opening support once again (they opened for him on last year's Mr. Moonlight Tour).
(Note: Yes, I know the photos are missing for some reason. The site I wrote this article for originally seems to have taken them down. Working to get it fixed, but until then, this posting will look a bit odd)
Strap On Halo (Omaha, Nebraska) visited Austin back on Friday, March 21st as part of the Near Dark Tour along with late-80s post-punk/gothic rock group The Last Cry (Brighton, England) and DJs Martin Oldgoth and Augustine Strange.
Strap On Halo / Laura Davila
Taking the stage first, Strap On Halo performed a 12 song set that heavily focused on their recent EP, Haunted, and visited tracks from their past work, including their debut album The Dead Don't Lie. With each song, frontwoman Layla Reyna's vocals shined mercilessly, soaring from note to note as she sang about various things that could haunt a person. Original founder Sean Rial added to the gloomy mood with a lacing of guitar work that wove between the programmed beats and synthesizers to add an ethereal tone. Bass guitarist Marc Jones rounded out the lineup with his enthusiastic play and fun stage presence. The first half of the set saw Strap On Halo guide us through "Only In Death," "Monsters," and perhaps my favorite off the Haunted EP, "Hunger." While small, the audience enjoyed dancing and bopping their heads in time to the music. As Strap On Halo began to wind down the full set, they pulled out the reworked version of "Strigoi" and "You And Your Ghost."
Layla Reyna of Strap On Halo / Laura Davila
Overall, their performance was amazing. The fog machine was a little distracting, but the three took it in stride and made it work for them. Reyna's vocals were perfect as ever, commanding a similar stylistic quality in person, as on recording, to that of Siouxsie Sioux herself. Rial and Jones both made their instruments come to life, taking them far beyond the traditional roles a guitar and bass guitar play in a band. The only pitfall of the night was that only a small handful of Austinites were there to witness these guys.
Following Strap On Halo were The Last Cry. Having formed in the late 80s, The Last Cry only have two full length albums due to a series of lineup changes and a hiatus during the 90s. On stage, however, the band are as lively as any new act and eager to draw people in. Their sound, as one may expect, is very reminiscent of the original dark post-punk bands, sounding like a mesh of The Cure and Depeche Mode.
The Last Cry / Laura Davila
Frontman Andrew Birch sang each song with a passion and intensity that was very catching. Vocally he sounded very similar to Dave Gahan (of Depeche Mode) which worked very well with the style of music played by the other members of the band. On guitar, Tim Green played with precision and control while also manning the laptop to make the appropriate transitions between songs. Rounding out the group is Chris Carey on bass guitar who also played with great passion and movement on stage. The only thing that felt a bit strange about The Last Cry was that they have no live drummer when the music would be well complemented with one. Additionally, while the crowd had picked up a little more from Strap On Halo's set, it was still a bit thin for The Last Cry which I think was a shame as you all once again missed out on a great group.
The night was made complete with excellent music selections from DJs Martin Oldgoth and Augustine Strange who both played a range of music surveying goth rock, post-punk, industrial, and everything between that the goth culture has laid claim to.
Overall, the Near Dark Tour was a wonderful experience and a great opportunity to learn about some great bands that should be far bigger than they currently are. If you weren't here, you honestly missed out on a fun night with very talented people. The Near Dark Tour just reached its conclusion, but keep an eye out for both of these bands as their future is bright (or should I be saying it's gloomy because, you know, goth music?).
Note: Apologies for the large delay in this posting. There's been a bit of a snafu with media postings at the site Laura and I were with, so in an effort to at least ensure the word got out about this show, I've moved it here to this blog (formatting is also a bit off, so I'll look at fixing that soon). We did conduct an interview with Strap On Halo, but a lot of the audio we took has unfortunately been lost. I'll see what I can salvage from what's left.
On May 30th, I had the delight of finally seeing The Damned perform in Austin as part of the Chaos in Tejas punk festival at 11E5. Let me just say, it was well worth the wait!
The Damned! The Damned! Photo credit to Brooklyn Vegan.
Back in 2011, The Damned were set to play Fun Fun Fun Fest. It was going to be my first time going to Fun Fun Fun Fest and I was super excited. I'd finally get to see The Damned! There were several other bands I was excited to see, but The Damned! They basically only play festivals these days and even then they're a bit choose-y about which festivals to play. THE DAMNED!!!
So, I had my three day passes for a long time and was excited. Then, about a month or so before Fun Fun Fun Fest, guess who else decides they want to play a show in Austin? And who decided to put that same show the same night as The Damned!? That's right - Peter Murphy. Okay, I guess he technically didn't have a say in the matter, but point being, I could either see The Damned for the first time or Peter Murphy for the fourth time. I wavered back and forth for a day before conceding that my ass needed to see Peter Murphy yet again. This is a decision I do not regret and would have made a million times over again (this is another story for another time, but the show came right after I lost a family member to cancer and I ended up crying during a couple of the songs...and Peter Murphy...with bronchitis, no less...was ever delightful and kind the entire night, sounding great even with the terrible illness...much respect).
I know, I know, this review is about The Damned. But, this is a photo of Peter Murphy at the very concert I just talked about, so deal with it. Such a therapeutic night and one that won't be forgot anytime soon. Photo credit to Rebecca Chulew.
But, I thought I had blown perhaps my one and only chance to ever see The Damned. So, you can imagine my absolute delight when I started seeing the band announcements for this year's Chaos in Tejas festival and The Damned made that list. THE DAMNED!!!
The Damned formed in London in 1976 when punk rock was in full swing and post-punk wouldn't be realized for another couple years. The band's formation is rather magical, in a sense. The Damned were started by Rat Scabies and Brian James (both having been in other punk rock acts which later spurned other bands such as Generation X and The Clash). Together they invited Dave Vanian and Sid Vicious to audition for vocals. As the story would have it, only Dave Vanian showed up, becoming singer for The Damned.
The Damned were met with early success, opening for acts like the Sex Pistols. Their first single "New Rose" was often viewed positively despite the somewhat gloomy lyrics. The Damned went into territories not explored yet by British punk bands, such as being the first to release a single, then to be the first to release an album, and even being the first to tour the US. It was their first tour in the US that is often cited as being the inspiration to the emergence of hardcore music as The Damned favored faster tempos than most of their contemporary punk bands did.
Tragically for The Damned, their sophomore album was a flop. It is thought the flop was generally due to a lack of interest from the producer of the album (Pink Floyd's Nick mason) and the subsequent quitting from the band of Rat Scabies. Following a tour to support 1977's Music for Pleasure, the band broke up.
Captain Sensible! You just have to love the guy. I think the camera viewpoint on this shot was right above my head, haha. Photo credit to the Austin Chronicle.
After a brief stint exploring other interests, The Damned would reform again (though not with the original lineup) in 1979 and begin working under the name of The Damned (they had technically reconvened in 1978, but used a different name to avoid possible trademark issues with the original name). The reformation of the group also saw a shift in Vanian's vocals to more of a crooning style and the music oscillate between fast tempos, as they were previously, and now slower tunes with dominating keyboards. 1979 also saw the release of the third album from The Damned, Machine Gun Etiquette, which is perhaps one of the most favorite albums for fans.
By 1985, the band had undergone major changes once more. Captain Sensible, who had been with the band essentially from the beginning, had left temporarily. Dave Vanian began dressing more formally and adopting a persona reminiscent of a vampire. The Damned had also signed to a major record label, MCA, to release their album Phantasmagoria, perhaps heralded as the most gothic album the group had produced, and cementing The Damned as a staple of the goth music diet (whether they liked it or not).
1988 saw the return of Captain Sensible, but only in time for the band to call it quits again. A handful of singles were released by the band over the years, but the band did not officially come back together (with yet another major lineup change, Vanian and Scabies being the only returning members) in 1993. However, it was around this time that two important covers of songs from The Damned were recorded and released - Guns N' Roses cover of "New Rose" and The Offspring's cover of "Smash It Up." Both covers were highly praised and well distributed, bringing new audiences to The Damned and leading to a new interest in the band.
1995 saw another album released which led to the temporary dissolution of the band once more (Vanian and Sensible felt Scabies had released 1995's Not of This Earth without proper authorization, resulting in a legal battle). By the next year, Sensible teamed up with Vanian on yet another rendition of The Damned, now bringing Patricia Morrison (you know, former bassist and backing vocalist of the Sisters of Mercy) into the lineup.
Dave Vanian!!! And sporting a Vincent Price look. Very nice, good sir! Photo credit, obviously, to AP.
In 2000, the lineup had gone on to include Monty Oxy Moron on keyboards and Pinch on drums. Patricia Morrison eventually retired from performing, married Dave Vanian, and became the band's manager. Stu West would take over on bass. The band have continued to release new albums and singles since, mixing in the occasional touring and keeping to a consistent lineup.
Now that we're all caught up on some of the major events in the band's history, time for the concert review itself!
Before The Damned took the stage, everyone was crowding in as close as they could. Fans were yelling out "Love Song!" hoping that it would be played. The Damned take the stage and burst into "Love Song," setting the crowd on fire immediately. The band were in good spirits (I was standing in front of Captain Sensible and he would often smile and make faces at us). All of us in the audience were simply going crazy. And this was just a preview of what was to come.
The set included many other great favorites such as my personal favorite "I Just Can't be Happy Today," "New Rose," "Neat Neat Neat," and "Eloise." The band sounded wonderful and carried a strong energy throughout the entire set. Captain Sensible carried out most of the stage antics by making faces at people and sticking his tongue out at others. A few technical issues with Monty Oxy Moron's keyboards led to some banter among the band where (if I remember correctly) Dave Vanian suggested they play a song that didn't need Monty Oxy Moron (everyone laughed and waited patiently for the issues to be resolved). The one thing that struck me as a little odd was that for being the one consistent member over the years and frontman, Dave Vanian didn't actually say much to the crowd. Most of the talking was done by Captain Sensible.
Dave Vanian and Captain Sensible. I'd post my photos, but they did not come out well at all. Photo credit to the Austin Chronicle
The group returned for their first encore and performed several more great songs. At one point, we were given a choice between one song and "Smash It Up." Those of us in the front were crying for them to play both (yes, we're greedy). They ended up playing the other song, which was great, but left us a little sad because, well...who doesn't love "Smash It Up?" And in a great flourish of trickery, The Damned immediately launched into "Smash It Up" anyways after that other song. The crowd went absolutely crazy, screaming at the top of our lungs. It was beautiful.
A final encore wrapped up the night. The band were very thankful for all of us coming and said things like "You know, we aren't the Sex Pistols. True punk began with The Ramones! And we're better than all of them." They were all really great and as they departed the stage for the final time, Captain Sensible threw his hat to the crowd.
I was not lucky enough to get a setlist (which I really wanted), but this person was kind enough to let me snap a photo of the complete setlist that she got.
All in all, this show was great. I personally am not built for punk shows anymore (there's something to be said about being surrounded by sweaty, smelly bodies...not really my preference). But, it was a grand experience. After all these years, The Damned still sound marvelous and can still put on a great show. While I forfeited my chance to see them a couple years ago (and as I said, I'd still make that same decision every time), I am so glad to have finally seen them. If you haven't seen The Damned, you are missing out.
Rating: 5 out of 5 (the crowd was a bit rough for my taste, but The Damned were just amazing, plain and simple)
NOTICE: This is the more professional version of this concert review. I find several reviewers today annoy me as they 1) don't do their research and 2) make reviews when they have no idea what they're talking about (an example: someone reviewed Bauhaus's Go Away White and said it wasn't very good, but admitted to not listening to it fully...it's one thing to think the album isn't that good after you tried to listen to it a handful of times in full...it's another to discard it and not even listen to it fully once!). Anyways, comments would be appreciated on a stylistic level for this review. I know it still has a bit more personal anecdotes than is typical of a review (I tried to parse them out, but I also like telling a bit of a story when I do these things and perhaps show you a little of why certain things leave their impressions on me). I plan in the near future to start up a separate site with a friend dedicated to concert and music reviews on a more professional level, so this is some of the ground work. Many thanks and enjoy!
Allow me to begin by saying this is most likely an incredibly biased review. I have listened to Bauhaus since I was about 16 or 17 (mind you, I'm currently 24, so this may not hold as much stock to those of you who listened since the beginning in 1978). I've listened to Peter Murphy's solo work since I was 20 (in blissful ignorance I existed until that age knowing Bauhaus was gone but not realizing the man had a prolific solo career). While I love love LOVE Bauhaus, I actually love Peter Murphy's solo work much more (I feel like I just committed some act of blasphemy, but this is the truth). So, it should come as no surprise that this review will be incredibly positive. I've also sat on this review for some time, editing and revising it several times over. Some of the details I have forgotten while others were edited out to make this a bit more professional, but it's time for the Internet to behold this marvel. Your fair warning has been issued.
The Mr. Moonlight Tour started April 22, 2013 in San Antonio, Texas. The idea is simple - let's give the fans an all-Bauhaus set to commemorate 35 years of the band's existence. And let's give them a mix of the hits they love and some of the slightly more obscure songs they may never have heard in the past.
Peter Murphy during the Miracula session he did during Halloween 2012. Photo credit to Christy Borgman (fantastic shot, by the way!)
For a fan such as myself who never did see Bauhaus as the "original four" (Peter Murphy, Daniel Ash, David J, and Kevin Haskins), this is as good as it gets. A full Bauhaus set. No "I'll Fall With Your Knife." No "I Spit Roses." And certainly no "Cuts You Up." Just Peter Murphy, Mark Gemini Thwaite, Emilio China, and Nick Lucero playing some delicious "Dark Entries," "Kick in the Eye," and "Boys."
But, I've seen some negative commentary over the fact that this tour isn't exactly a Bauhaus tour. The only Bauhaus member is Peter Murphy himself doing vocals, some guitar, and melodica. The other three people on that stage are not Daniel Ash, David J, or Kevin Haskins. Peter Murphy even recently confirmed that he didn't ask the others if they wanted to do a reunion tour to mark 35 years of Bauhaus (http://clatl.com/cribnotes/archives/2013/05/02/peter-murphy-on-what-makes-bauhaus-music-so-transcendent). And for whatever reason, there are those who think this is some sort of grand sin against humanity or something. So, let me at least do a little justice to the three and tell you what I can about them (which, sadly and admittedly, is not much).
Emilio China takes on the role of David J, playing fretless bass and at some points the electric violin. I admittedly do not know much about Emilio. He has been with Peter Murphy since the official tour supporting Ninth (I believe Jeff Schartoff did the actual recording of these parts on Ninth). I don't know what other acts he has performed with in the past, but he is clearly very talented. Granted the violin parts are limited in Bauhaus's material, but the last time I saw Peter Murphy performing solo material (November 2011), Emilio was part of that tour and played electric violin more as Peter Murphy at times likes to incorporate more instruments in his songs. Let me say, as a violinist myself (not necessarily a great one, but I know how to play fairly well), I like this guy's style. He sounds great and brings out emotion while he plays. Kudos from my point of view, for what they may be worth. He also plays fretless bass for the Bauhaus material. Fretless bass is much more difficult to play than the standard electric bass. Also, Bauhaus has a mix of simple bass parts where you play the same note the entire song and songs with complicated rhythms and schemes for the notes. He has a bit of a laid back presence on stage helping Peter Murphy keep that dominating spirit, but this guy has talent. I really wish I knew more of his background, though.
Finding pictures of Emilio is also a bit tough. He's in the front with Peter Murphy in the background
Nick Lucero has been drumming for Peter Murphy for a long time. According to his personal website, he has played with a few other bands (sadly, I do not recognize any of them). I don't even know how long he's been with Peter Murphy (I know he's been with him since at least 2009 because he's played every show I've seen). Nick is also really good at what he does, maintaining high energy throughout the show and playing his parts well. Some Bauhaus songs have what seems to me a complicated rhythm, often times with syncopation, and he plays these without any trouble. As with Emilio, I wish I knew a bit more about Nick's background. But, trust me, he's a great guy (though a bit shy each time I've said hello to him after a show and complemented his playing) and also definitely belongs up on that stage.
Nick Lucero
The third "unknown" is guitarist Mark Gemini Thwaite. Mark, like Nick, has been with Peter Murphy for a very long time. From what I can tell, Mark first started playing with Peter Murphy in 2005 to support the somewhat ill-fated album Unshattered (another story for another time). He then took a break and worked on a number of other projects before rejoining Peter Murphy in 2010 for a UK tour and has stayed more or less since then (I think he's had a few one off projects since then, but that working with Peter Murphy is the main priority currently). I'm not sure how accurate all this is as I could have sworn I saw him in June 2009 on the Secret Covers Tour, but his personal page isn't loading for me and I always take Wikipedia with a grain of salt.
Peter Murphy on the left and Mark Gemini Thwaite on the right. Also, as a random aside, kudos to whoever took this photo!
From what I can tell, Mark seems to get the most crap from interviewers and reviewers. I don't get it. Not to knock Emilio or Nick, but Mark has the far superior credentials in terms of the acts he's played with. Where do we even begin? Peter Murphy. The Mission. Combichrist. Al Jourgensen. Revolting Cocks. Gary Numan. Need I say more? And people question if the guy belongs on the same stage as Peter Murphy? Dare I say maybe the question should be asked in the other direction? (I'm kidding on that part, but you get where I'm coming from)
Taking the role of Daniel Ash is also a daunting one, I have to imagine. Daniel Ash was known for making the guitar sound anything but like a guitar. Ever heard "Hollow Hills?" The predominant sounds in that song are not done on a synthesizer. Bauhaus never used synthesizers. They aren't dubbed tracks. Bauhaus never used backing tracks either. Those sounds are made on guitar (from the Gotham DVD performance, it appears Daniel Ash uses a violin bow against the strings...I'm not sure what exactly Mark used to make the same sound, but it worked damn well). So, trust, haters of the world, this man has the talent, the credentials, and the presence to be on the stage with Peter Murphy playing Bauhaus songs.
Still saying nay? Well, there'll be no pleasing you at all, in this case. You will either continue to be upset over the fact that this is Peter Murphy with his solo band playing loads of Bauhaus songs, or you'll come to realize that for better or worse, the singer is what makes the band anyways (another story for another time, but do ask yourself who has been the most consistent over the years since Bauhaus and you'll understand the point I'm trying to make here), and that this is a truly special thing you will witness. Without further ado, the actual review for each concert date I attended:
Austin, Texas - The Belmont - 4/23/13
This was the first time I had even heard of The Belmont (mind you, Austin has MANY music venues, and from what I understand, The Belmont had re-opened more recently after closing for a bit, possibly due to restructuring and remodeling). It certainly isn't the first "odd" venue I've seen Peter Murphy at (going to the middle of nowhere to a venue that was once a movie theater might take the cake on this one...again, another story for another time).
The Belmont itself is a nice venue. Good location, two areas you can watch the show from, and a very low stage. It is an outdoor venue and we had the most unseasonal cold weather this night (as in 50s...when it should be like 80s). The opening act, My Jerusalem, were okay. Not really my kind of music, so I wasn't too into them. They had good energy and seemed to like being up there. After hearing them on three nights mostly in a row, however, I'd be fine never hearing them again. Just not my cup of tea. Good on them for being an Austin based band and touring with Peter Murphy for a couple weeks. I won't go into them more as this review isn't aimed at them, but they deserve a mention at the very least.
Peter Murphy took to the stage and started with "King Volcano" leading straight into "Kingdom's Coming." It was a great mesh and a great way to open, though I recall I spent those opening songs shivering more than being able to sing (not their fault, of course...and rather impressive they all played so well given that cold). The set continued with great favorites like "Double Dare" and "In the Flat Field" before jumping into slightly more obscure ones like "Boys." The playing of "Bela Lugosi's Dead" was sensational all of its own. I've heard the medley Peter Murphy normally does combining "Bela Lugosi's Dead" with his solo song "A Strange Kind of Love." The medley is gorgeous and allowed me to get through what I consider an often overplayed and overhyped song. Yes, you heard me correct. I used to feel "Bela Lugosi's Dead" was an overhyped and overplayed song. Good, yes, but there's so much more to Bauhaus than just that.
Seeing it live, however, I have found a new awe for this masterpiece. I used to wonder what went into making all the sounds in that song. Now I know. Four people on their respective instruments. There are no backing tapes, no recordings, no extra people, no synthesizers, none of that. Just a bass guitar, guitar, drums, vocals, and some effects pedals. In that performance, the four were able to recapitulate the same dark essence the song has on recording. And there's nothing like the harrowing vocals as Peter Murphy belts out "Oh Bela! Bela's undead!" That's my personal favorite part of the song and on that night I recall having chills during that part (and not just because it was kind of cold).
On the whole, the set was amazing. It wasn't everything I would have wanted, but I'm certainly not complaining (to get all I wanted, they'd essentially have to be on stage for several hours and play everything). Peter Murphy did a fantastic job interacting with the audience as he usually does, letting people touch him, kissing some people, pushing others (lightly) on the head, etc. By and large, the audience were great, as they tend to be at Peter Murphy shows. Most are older than me, but there's always a good energy to the crowd and a good mix of people singing to all the songs and others just dancing to each tune. Honestly, the only thing that would have improved this night was either warmer weather or being indoors. But, the band were perfect and after all these years, Peter Murphy still sounds great and pulls off these songs like some grand master.
Dallas, Texas - The Granada Theater - 4/24/13
The next night I drove a good three and a half hours to Dallas to see Mr. Murphy once again. As I said, this is perhaps a once in a lifetime thing that I was going to take full advantage of. And I told you I was incredibly biased.
As we entered the Granada, there was a list where you could put your email and receive photos from the show. I didn't know what this was and thought maybe it'd be like previews and you can buy them or something, so I signed up. To say the least, this was an awesome thing as a few days later I received an email with some amazing, professional photos of the show, and I intend to contact the photographer and order some prints if they do that. So, major kudos to Bill Ellison! (Sorry, I had to mention this part because it was so unique and cool to me)
Peter Murphy and Mark Gemini Thwaite
The Granada Theater was also once a movie theater. The sound was handled very nicely here, but the stage comes up to your chin, making it a little tough to see and interact with the performers on stage. But all in all, this is probably one of my more favorite venues I've been to.
On this night, there were two openers, which resulted in a shorter set from Peter Murphy (which while it was about 1.5 hours the night before, it still felt very short to me). Without going into much detail, the first opener was Vulgar Fashion. I personally did not care for them, but some people in the audience seemed to like them. The second opener was My Jerusalem again, which I've already shared my thoughts on them. Good, but not my cup of tea.
One of Peter Murphy's trademark poses - "Oooooooh....Bellllllllllaaaaaaaaaa!!!!!!"
So, we finally get to Peter Murphy performing. As with the night before in Austin, it was an amazing show. Great set and his playing "Endless Summer of the Damned" from Go Away White set me towards listening to that album more and finding it to not be as bad as I used to find it (I even felt moved to re-review it: http://rogoth.blogspot.com/2013/05/music-re-review-bauhaus-go-away-white.html). The set did get cut in places, so gems like "She's in Parties" and "A Spy in the Cab" were not played. I know some of the other audience members were really hoping to hear these, so I felt a little sorry that they didn't get them. But, they had VIP tickets and I did not. So, it's somewhat fair? My one complaint about this show is simply that the stage was too damn high. At times I felt disconnected from the show since I was on a very different plane. I felt more like a distant observer, or perhaps someone sitting at home watching the show on DVD. It was like what I do with the Gotham DVD, where I sit in my all black and pretend that I was in that audience, that I had been much older back then, knew of this great music then, and so forth (I was like 9 or 10 when the Resurrection Tour happened). My guess is Peter felt this way at times too since he got on his knees at one point to tell us the story behind the writing of "Boys" before playing it.
Aside from the stage height, this was an amazing show. I know Peter Murphy tried his best to work with us, but it is tough when you're towering a mile above the audience. For this, I felt the Austin show was better. But, the set, while shorter than the night before, was still excellent. And the performance of "Endless Summer of the Damned" has truly helped alter my view on the last Bauhaus album. Was it worth the long drive, both ways, to see this tour again? I certainly think it was.
Houston, Texas - Numbers - 4/26/13
The final show of the three and another road trip, but with friends this time! For this show, we had the VIP meet and greet tickets. I would finally meet this man after so many shows (I've seen Peter Murphy in concert seven times and only met him the one time with these VIP tickets). So, for the occasion, I bought a nice bouquet of roses to at least show my appreciation for his talents and music, even if I couldn't verbally express what it all meant to me (in part due to the nerves of finally getting to meet him and in part because I honestly cannot put into words why his music is so important to me). I also brought my "Bela Lugosi's Dead" 12" single (just the black repress in the thick sleeve) and my Mask LP to have signed.
This is from the Dallas show, but I didn't really take any pics in Houston
As far as a concert venue, I'm not a fan of Numbers. I had seen Peter Murphy here once before (the pre-Ninth tour). Their stage has these steps that lead up to it and most get covered over when they extend the stage out, except for one. So, most of the time, people stand on that one step, making them much taller than the rest of us. Thus, front row and you see, any other row and you struggle. We got to the venue a bit late and Numbers did not uphold the policy of letting VIP ticket holders in first as they claimed they would, so we didn't get front row, unfortunately. I got as close to front and center as I could and luckily got a spot where the people weren't overly tall in front of me.
As with the other shows, the set was amazing (it was longer and similar to the set in Austin). Peter was gorgeous. Everyone sounded great. There were several sound issues and half the time it was hard to hear Peter's lower registry notes and hard to hear when he just talked to us (not his fault, and you could tell he was getting a little frustrated at some points when the sound techs couldn't fix the issues).
At one point, Peter was getting tired of people taking pictures and videos. He basically said, "Stop looking at my through your phones and cameras. I'm here right now. Look at me directly. Interact with me. Touch me." This gives you an idea of the audience. The venue was pretty packed, and there were certainly fans who were really into the show, singing along, dancing, interacting, etc. But there were plenty that wanted to record the show and take pictures. I understand wanting to capture the memories as I, too, will take pictures and video. But, usually I only take pictures during the first couple of songs and only take video of a couple songs. To each their own, I suppose, but I'd much rather have traded places with the guy in front of me who viewed the entire show through the lens of his camera.
Following the show, we went to get in line for the meet and greet. I had no idea what I'd say to the man. I had been thinking for weeks on what to say without sounding like a fangirl or an idiot. We finally get in there and Peter is signing mini posters for everyone. Not having a normal name, he asks me to spell mine and asks where it's from. I tell him it's Arabic and that I'm half Palestinian. He looks up at me and asks if I'm Christian or Muslim. I tell him Muslim, which is true, though I admit to not being a close follower at the moment.
Everyone gets funny, joking around Peter. I got serious face Peter. Upon telling him I'm Muslim, he extends the formal greeting Muslims give one another, "Salaam alaikum." I of course reply traditionally with "Walaikum salaam." He tells me to send prayers to our brothers and sisters in Syria, Gaza, etc. Of course, I reply. He then tells me about how excited he is to have a couple tour dates set in Israel now for the Mr. Moonlight Tour because he feels there's more to those shows perhaps than these. It's an opportunity to spread peace and love to the youth there and in some sense show them that we can all be friends instead of enemies and that our beliefs are the same and beautiful. Then our time together was done. I gave him the roses, he smiled, and then I had to walk on.
One of my friends was telling the kid in the white shirt that he was really great and she saw him with his family when they opened for the Psychedelic Furs in Austin a few months ago. Peter turned to the kid and was like "Wait, you've played with the Psychedelic Furs!? I have GOT to figure out how to do that!" And then scheming face commenced.
The meet and greet was a neat opportunity, but didn't go quite as I expected based on previous meet and greets. You didn't get to hug the man or take a picture with him as others had done previously. And while talking to him even for those couple of minutes was great, it certainly didn't feel like enough.
All in all, this was a sensational set of concerts to attend. Of the three dates, I think Austin was my favorite, though the Dallas and Houston were very good. The VIP thing was cool, but perhaps not quite worth the money. It was a truly unique experience to see a full Bauhaus set like this. And sure, it was only Peter Murphy from the original Bauhaus, but I don't care. He is the face, voice, and driving force behind that band. Nick, Emilio, and Mark have every right to be on that stage playing those songs and they did a mighty damn fine job at it! And I eagerly await the next solo album, Lion, which is looking for an early 2014 release. You may all sit there imagining me throwing my wallet, cash, coins, and credit cards at my computer screen, screaming , "Take my money!!!!" The image is rather accurate, I would say. Thank you, Peter, for a series of great nights. Keep doing your thing and we'll keep following.
Austin show rating: 5 out of 5
Dallas show rating: 5 out of 5 (the stage was so high, but the professional pictures make up for it)
Houston show rating: 4 out of 5 (great show, but I just don't like Numbers as a concert venue)
Photos/Videos: Unless otherwise credited/stated, I took these photos on my phone (hence the grainy quality). Please give credit if you wish to use them since I'm too silly to put watermarks on them. All videos were taken by other people and can be found via YouTube.
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)
.JPG)
