Concert Review: The Casualties 5/30/13

On May 30th, I saw The Casualties in Austin as part of the Chaos in Tejas punk festival at 11E5. Admittedly, I was at this show really to see The Damned, but I figured seeing The Casualties would be neat as I had tried to get into them earlier in my life while I was still more into punk music.

The Casualties in 2007. Left to right: Jake Kolatis, Jorge Herrera, Marc Eggers, and Rick Lopez

The Casualties formed in 1990 in New York City in an effort to return punk music to what it was more or less originally (perhaps what some see as the second wave of punk rock that was characterized by faster and more aggressive music, i.e., the hardcore and oi! scenes). They drew heavy influences at the time from great hardcore bands like Charged GBH and The Exploited.

The lineup has remained fairly constant over the years with early founders having left, well...early, and others coming and going in the 90s. The current lineup has been together since the early to mid 90s (okay, Rick Lopez joined up in 1998, but semantics and details and so forth) and consists of Jorge Herrera on vocals, Rick Lopez on bass guitar and backing vocals, Jake Kolatis on guitar and vocals, and Marc Eggers on drums.

Allow me to admit that my like of punk music has both waned and become a bit selective over the years. Even back about eight years ago when I was first getting into punk, I had a hard time getting into this band. And sadly, this performance did little to change my mind on the matter. Now, mind you, this isn't to say they were bad. I'll get to the review in a bit. But, as the post-punk gothy type I am, the chances of me suddenly becoming a fan of this band were already low. It just isn't my type of music anymore.

A photo I took of Jake Kolatis, Jorge Herrera, and Marc Eggers

Why did I never get into The Casualties? I don't know. I like other bands of the genre (The Exploited, Charged GBH, Discharge, FEAR, and Rancid, to name a few). Certainly The Casualties sound similar. I think in part, I just didn't care so much for Jorge's style of vocals. Not saying they're bad, just not for me. But, enough on all this. To the review!

The Casualties took to the stage and started with "My Blood, My Life." Immediately the crowd began to get rowdy, crowd surfing and stage diving. There was a lot of energy to the show, but I was quickly reminded, while standing near a stack of speakers, why I don't care too much for Herrera's vocals (the screams cut through the music a bit harshly at times and feel like knife blades in your eardrums when you get too close to speakers).

Their set continued with several other fast paced songs, many having lyrics related to politics and varying social injustices. Somewhere around the point when they played "Underground Army," Herrera threw a Casualties Army scarf into the crowd and things seemed to pick up even more than before. Fans were going crazy and singing at the top of their lungs.

Jake Kolatis

Afterwards, Herrera encouraged some fans to have a cock fight, basically, where a girl would get on a guy's shoulders and the two would bash into other groups in a mosh pit with the winner getting free beer. At first, audience members were hesitant to participate (I know, punks hesitant to bash into each other? I swear I'm not making this part up), but after a bit some did participate. I kept worrying someone would fall off and bash their head open on the concrete (fortunately, this did not happen).

The Casualties ended with "We Are All We Have" which was met with much energy from the crowd. As they left the stage, fans demanded more, but sadly with other bands left to come, no encore would be had. Some fans retreated to find water, others rushed in closer for the next band and the hope of getting good spots for The Damned.

The setlist from the night. I think this came from over where  Rick lopez was most of the night, but I wasn't paying attention

All in all, The Casualties have done a great job attracting fans over the years. Their show was full of energy (and dare I say that perhaps Kolatis upstaged Herrera a bit?) and meaning that can at times be lost or turned into a mockery in punk shows. They still aren't my favorite band and I doubt I will find myself listening to them more, but they still retain the same feel punk bands from the 90s came with. All in all, not a bad show at all and I'm glad to have seen it, even with all the crowd surfing and stage diving that I loathe.

Sound Off! Were you at this show? What did you think? Did you become a fan of The Casualties after this? Were you already a fan? What were your favorite moments? Share your thoughts in the comments section!


Rating: 4 out of 5 (good energy, good antics, overall good sound, but not really my cup of tea anymore)

More Information: Official MySpace of The Casualties

Music Review: Fad Gadget - Gag

It has been some time since I last did an album review that wasn't Bauhaus or Peter Murphy (which is rather an exercise in futility as you all know I will give highly favorable reviews to all those bodies of work because...well...they are my favorites). So, today I shall review Fad Gadget's "final" album, 1984's Gag.

The album cover for Gag

Fad Gadget was the stage name Frank Tovey adopted for a time. Tovey tried to learn various musical instruments as he grew up, but never had enough coordination (or perhaps patience) to stick with any and drifted away from music while he went through school. After school, Tovey got into experimenting with sounds eventually buying a synthesizer. He recorded his first demo and sent it to Daniel Miller (AKA The Normal, who had himself just released his first, and only, set of singles "Warm Leatherette" with "T. V. O. D.").

Afterwards, Tovey signed to Mute records where he worked closely with Miller to produce his first album, Fireside Favourites. Not being familiar with how recording an album went, many of the more technical aspects were left to Miller, but the music was all Tovey's work and ideas. He felt strongly about leading the direction of the album and felt similarly when it came to performing the songs live.

With each new album, the music gained in complexity of sounds as Tovey learned more about recording albums. This eventually led to the production of Gag, often seen as a major turning point in Tovey's career. Gag marked the first time other musicians helped record parts of songs. Gag also marked the final album that Tovey recorded under his stage name of Fad Gadget. All his future endeavors saw him using his real name.

Frank Tovey

In general, Fad Gadget's music has bleak, dark humorous lyrics that center around themes of sexuality, violence, capitalism, etc. The music is heavily driven by synthesizers and his singing tone is typically droning (in a sense) and expressionless. This isn't to say his vocals are boring. They merely add to the subject matter that he chooses to write lyrics around.

As Tovey's career wore on, he became increasingly known for his bizarre stage antics (thins like jumping into the audience and covering himself with tar and feathers as depicted in the music video for "Collapsing New People"). He also staunchly disliked industrialization (and perhaps the music genre of industrial) and changed his style to feature more acoustic sets. However, by 1993, Tovey had essentially removed himself from the music industry.

2001 saw the brief resurrection of Tovey, using the name Fad Gadget once more, to support Depeche Mode on a tour and begin writing new music. Sadly, this new album Tovey was working on was never finished as he passed away from a heart attack in 2002 at the age of 45 (he had had heart problems since he was a child).

Gag was considered a bit of an experimental album as opposed to a commercial album. It opens with "Ideal World" which is a dismal outlook at a perfect world that exists only in your mind or dreams where there is "no stress, no death/when you fall you wake/and feel no pain." The content and style of this song falls in line with other songs Tovey produced previously. I find it fairly catchy and is one of my favorites from the album.

The second track, "Collapsing New People," was actually the first song I heard from Fad Gadget. It is one of the first collaborations Tovey did, working with Einsturzende Neubauten (a band whose name translates into "collapsing new buildings").  This number is also catchy and features fairly dark lyrics ("Stay awake all night/but never see the stars/and sleep all day/on a chain-link bed of nails"). I don't really know what the lyrics are communicating, but I greatly enjoy the song, for what that may be worth.

The third track, "Sleep," is a very odd number. It opens with a piano and sounds that represent a baby babbling. I've always found this song to be particularly creepy ("sleep, baby sleep/daddy's gone out to earn your keep/sleep, baby sleep/momma's sad, hear her weep"). However, the song seems to have a positive note despite all the darkness. Lyrically, it's as if the father telling this story hopes for his baby to live a better life than he did and be a better person while he toils to help make a brighter future for the child.

The fourth track, "Stand Up," takes on a very different feel compared to the other songs. The music is more upbeat and lyrically tries to make the point that you should fight for your dreams and not let others step all over you. A bit out of place compared to other Fad Gadget songs, but possibly a personal message in which Tovey is trying to say he's going to make music in his way and won't pander to a label or particular people. It's a neat reprieve from the darkness several of the songs on this album contain.

Skipping to track seven, "The Ring," I love the music on this one. It's sort of a dark cabaret dealing with the subject of marriage and what happens when you are young and really full of lust instead of true love, leading to pain and shattered dreams. Rarely do you get a taste of the darker side of marriage, so this one is a bit special in that regard. I much enjoy it.

On the whole, Gag certainly shows a more experimental side of Fad Gadget. It's a neat album, but in being largely experimental, you often find yourself getting one song that's dark followed by another that is upbeat, and back and forth. It isn't the most uniform and flowing album. Now, this isn't necessarily a bad thing, as Bauhaus's The Sky's Gone Out is similar in the lack of flow department. However, I feel that album pulled that aspect off a bit better than Gag does. Still, I find this a fairly solid album and worth a listen. Frank Tovey, you are missed.


Rating: 3.5 out of 5

More Information: Official Site of Fad Gadget/Frank Tovey

TV Series Review: The Hunger

Let me begin by saying this may be the only time I ever do a TV series review, which goes to show how much I felt moved to write a review about this series.

As some of you may know, The Hunger is one of my favorite films. I don't believe I have ventured to review it yet, but what isn't there to love about that film? It has "Bela Lugosi's Dead." It has Bauhaus. It has Peter Murphy (in a cage, no less). It has David Bowie. Catherine Deneuve. Susan Sarandon. Gorgeous classical music. Deliciously creepy sounds. A gorgeous apartment home. Vampires. What more do you want!?! The only tragedies surrounding the movie are: 1) Needs more Bauhaus, 2) Seeing David Bowie age rapidly makes the heart cry, 3) The official soundtrack for whatever reason actually does NOT feature "Bela Lugosi's Dead" (seriously, why not? Come on!), 4) I cannot get the book to save my life ($30 or so is a bit much), and 5) Finding a movie poster for a decent price is also near impossible. But otherwise, one could not ask for more.

David Bowie and Catherine Deneuve scope out the club looking for their victims for the night. 

So, imagine my delight upon finding a TV series by the same name that had some similarities and ties to the movie! Also imagine my confusion when I saw the series was only moderately rated (averaging about a 3 out of 5). But, okay, fine. I love this kind of stuff where others don't typically. Remember my 5 out of 5 rating for The Sky's Gone Out from Bauhaus? "Official" reviewers give it a 3 or 4 out of 5. I like my pasta and I like it creepy.

There are only two seasons of the show. Each episode runs in a similar fashion where The Host (played by Terence Stamp in season 1 and David Bowie [yes, DAVID BOWIE!] in season 2) introduces the episode by saying something snarky and/or witty. The episode then plays which typically explores some dark facet of human nature, be that the excesses of sexual desire, people with odd "talents," vampires, etc. There really aren't any happy ends and usually the main character meets some unfortunate demise. The episode ends with The Host again saying something witty to try and close things and "teach you a lesson." Basically, this has the feel of Tales From The Crypt, but I don't feel the series ultimately captured the same kind of magic, if you will, that Tales From The Crypt had.

A rather dapper Terence Stamp, much as he looks when portraying The Host

What I've found in watching the series (which is available in full on Netflix, for those interested) is that some episodes are well done while others are terrible. None of the episodes share characters, so it's easy enough to skip over ones you don't like, which is nice.

WARNING: Some spoilers are found below as I recap a few episodes. You have been warned.

The first episode, "The Swords," follows a man who is in the fashion industry following in his father's footsteps basically on an ultimatum: do this and get off drugs, or go to jail and rehab and be nothing. While at a conference for fashion designs, the main character runs into some local miscreants who follow the way of life the main character once lived (drinking, drugs, etc.). They go to a night club to dance the night away. Once the music stops, a magic show ensues where the trick is to place a sharp sword into a woman's midsection without her being harmed. The men pay their money to do this and are amazed when she is indeed unharmed. The main character becomes obsessed with this woman. Eventually, she is paid to go to the man's hotel room and do whatever he asks of her, sexually and otherwise. Over time, the two become intimate and fall in love. The catch is that by the woman falling in love with someone, the spell she was under where she couldn't be harmed by the swords is broken. She knows this, but the main character does not. So, after a night of passionate sex, she bids the man a final farewell as she knows that she will die that night during the show (which she does). This was one of the better episodes, in my opinion.

David Bowie as The Host in season 2

The second episode, "Menage a Trois," is all kinds of wonderful creepy pasta. In short, a young woman is hired on as help for an elderly woman. Also working for the elderly woman is a young man who does much of the fixing up of the place. Over time, the young woman and man enter a sexual relationship. Much to his horror, however, is that the elderly woman has actually come to posses the mind and body of the young woman, hence the notion of the relation actually being a menage a trois. Very creepy episode, but really good.

The sixth episode, "Room 17," was a bit of a miss for me. it's about a traveling salesman who stinks at his job. He is late on bills and his wife is constantly pestering him about getting money. The man checks into a cheap motel where the TV only plays pornos. One of these, however, features a woman that actually talks to the man. She convinces him that they can be together, but he must kill his wife and bring her necklace heirloom. The man ends up doing this and brings the porno lady the necklace. The electricity goes out, the man panics and tries to get the motel owner to come and fix things. Much to his horror, the porno lady steals the necklace then laughs at the idea of being with him as he cannot enter the TV, but she can leave it. The cops are on their way as he reported a theft of the necklace, but he now has the worry of what will happen when they arrive and if they discover he murdered his wife. It's an alright episode, but others are much better.

Overall, it's easy to see why this show never really picked up. The episodes tend to be hit or miss. It was aired originally in Canada and Europe. Given the sexual content present in nearly every episode, the show had to be aired late at night to follow rules regarding adult content. It could never really be a primetime show. It has, however, developed a small cult following over the years which has lent it to being aired in the US and available on Netflix. The show has its merits, but it does have its inconsistencies.


Rating: 4 out of 5 (just because some of the episodes are a miss for me)

Concert Review: Peter Murphy 4/23/13, 4/24/13, and 4/26/13

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)

More info: Official Site of Peter Murphy, Official site of Mark Gemini Thwaite, Official site of Emilio China, Official site of Nick Lucero

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.

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