Bauhaus (band)

Bauhaus are an English band, formed in Northampton, England, in 1978. The group consists of Daniel Ash (guitar, saxophone), Peter Murphy (vocals, occasional instruments), Kevin Haskins (drums) and David J (bass). The band was originally named Bauhaus 1919 in reference to the first operating year of the German art school Bauhaus, although they shortened the name within a year of formation. One of the pioneers of gothic rock, Bauhaus were known for their dark image and gloomy sound, although they mixed many genres, including dub, glam rock, psychedelia, funk, power pop and ska.[1][2]

For other uses, see Bauhaus (disambiguation).

Bauhaus
Bauhaus performing live in August 2006
Background information
Also known asBauhaus 1919
OriginNorthampton, England
Genres
Years active
  • 1978–1983
  • 1998
  • 2005–2008, 2019–present
Labels
Associated acts
MembersDaniel Ash
Peter Murphy
Kevin Haskins
David J

Bauhaus broke up in 1983. Murphy began a solo career while Ash and Haskins continued as Tones on Tail and, later, reunited with David J to form Love and Rockets. Both enjoyed greater commercial success in the United States than Bauhaus had, but disappeared from the charts in their homeland. Bauhaus eventually reunited for a 1998 tour, again from 2005 to 2008, and once again in 2019.

History
The Bauhaus emblem, designed by Oskar Schlemmer.

Daniel Ash, his friend David J. Haskins, and Haskins' younger brother Kevin, had played together in various bands since childhood. One of the longer-lived of these was a band called the Craze, which performed a few times around Northampton in 1978. However, The Craze still split up fairly quickly, and Ash once again tried to convince his old school friend Murphy to join him, simply because Ash thought he had the right look for a band.[3] Murphy, who was working in a printing factory, decided to give it a try, despite never having written any lyrics or music. During their first rehearsal, he co-wrote the song "In the Flat Field".[4]

Ash's old bandmate Kevin Haskins joined as the drummer. Ash made a point of not inviting David J, the driving force in their previous bands, because he wanted a band he could control.[5] Instead, Chris Barber was brought in to play bass, and together the four musicians formed the band S.R. However, within a few weeks Ash relented, and replaced Barber with David J, who suggested the new name Bauhaus 1919. David J. had already agreed to tour American airbases with another band, but decided that joining his friends' group was "the right thing to do". With their lineup complete, the band played their first gig at the Cromwell pub in Wellingborough on New Year's Eve 1978.[6]

The band had chosen the name Bauhaus 1919, a reference to the German Bauhaus art movement of the 1920s,[7] because of its "stylistic implications and associations", according to David J.[8] The band also chose the same typeface used on the Bauhaus college building in Dessau, Germany, as well as the Bauhaus emblem, designed by Oskar Schlemmer. Bauhaus associate Graham Bentley said that the group was unlike any Northampton band of the time, most of which played predominantly cover songs.[9] Bentley videotaped a performance by the group, which was sent to several record labels, in the hope of obtaining a contract. This approach was hindered partly because many record companies at the time did not have home video equipment, so the group decided to record a demo.[10]

"Bela Lugosi's Dead" and 4AD

After only six weeks as a band, Bauhaus entered the studio for the first time at Beck Studios in Wellingborough to record a demo.[11] One of the five tracks recorded during the session, "Bela Lugosi's Dead", more than nine minutes long, was released as the group's debut single in August 1979 on Small Wonder Records.[12] The band was listed simply as Bauhaus, with the "1919" abandoned.[13][14]

The single received a positive review in Sounds, and stayed on the British independent charts for two years. The song received crucial airplay on BBC Radio 1 and DJ John Peel's evening show, and Bauhaus were subsequently asked to record a session for Peel's show, which was broadcast on 3 January 1980.[15] Of the additional tracks, Classic Rock Magazine wrote that, "The rest of the material finds a band fumbling for direction, even touching on ska."[16]

One of Bauhaus' first US shows was in a venue called Space Place in Chicago, Illinois on September 1980, booked by Jim Nash and Dannie Flesher, the owners of the independent record label Wax Trax! Records.[17][18]

Signing with the 4AD label, the band released two more singles, "Dark Entries" in January 1980 and "Terror Couple Kill Colonel" in June 1980, before issuing their first album In the Flat Field in October 1980. NME described it as "Gothick-Romantick pseudo-decadence".[19] Despite negative reviews, In the Flat Field topped the indie charts, and made headway on the UK Albums Chart, peaking for one week at No. 72.[20] In December 1980 Bauhaus released a cover of "Telegram Sam", a hit by glam rock pioneers T. Rex, as a single.

Beggars Banquet and breakup

Bauhaus' growing success outstripped 4AD's resources, so the band moved to 4AD's parent label, Beggars Banquet Records.[21] Bauhaus released "Kick in the Eye" in March 1981 as its debut release on the label. The single reached No. 59 on the charts.[22] The following single, "The Passion of Lovers", peaked at No. 56 in July 1981.[23] Bauhaus released their second album, Mask, in October 1981. The band employed more keyboards, and a variety of other instruments, to add to the diversity of the record. In an unconventional move, the group shot a video for the album's title track as a promotional tool for the band as a whole, rather than any specific song from the record.[24]

In July 1982 Bauhaus released the single "Spirit", produced by Hugh Jones. It was intended to break into the Top 30, but only reached No. 42. The band was displeased with the single, and re-recorded it later in 1982 for their third album The Sky's Gone Out.[25] In the same year, Bauhaus scored their biggest hit with a cover of David Bowie's "Ziggy Stardust", which was recorded during a BBC session. The song reached No. 15 on the British charts, and earned the band an appearance on the television show Top of the Pops. [26] Due to the success of the single, the album also became the band's biggest hit, peaking at No. 4.[27] That same year, Bauhaus made an appearance in the horror film The Hunger, where they performed "Bela Lugosi's Dead" during the opening credits. The final cut of the scene focused on Murphy; this, coupled with the singer's modelling work in a popular ad campaign for Maxell, caused resentment among the rest of the group.[28]

Prior to the recording of their fourth album, Burning from the Inside (1983), Murphy was stricken with pneumonia, which prevented him from contributing much to the album. Ash and David J took the reins, becoming the driving forces behind the record and even performing lead vocals on several tracks.[29] The album's lead single, "She's in Parties", reached No. 26 on the charts and earned Bauhaus their third and final Top of the Pops appearance.[30] Bauhaus then embarked on an international promotional tour for the album, with dates in Europe and the Far East.[31] David J recalled that the night before they were supposed to perform two shows at Hammersmith Palais in London, the group decided to disband.

The band played their farewell show on 5 July 1983 at the Hammersmith Palais; dedicated fans had been warned by the band's crew not to miss the show, without telling them it was the last. After a long encore, consisting of some of their early songs, David J left the stage with the words "rest in peace".[31] Burning from the Inside was released a week later. The album received largely positive reviews and reached No. 13 on the charts.[32] Bauhaus released the single "Sanity Assassin" in limited quantities as a farewell gift for those who joined the group's fan club.[33]

Subsequent developments: reunions and a final album

Bauhaus reunited for the "Resurrection Tour" in 1998, their stage show opened with Double Dare and Pete Murphy singing to the audience via a TV screen set up centre-stage.[34] The tour featured a new song, "The Dog's a Vapour", which was also included in the Heavy Metal 2000 film soundtrack. A live album was recorded during the tour, Gotham, which was released the following year. It included a studio recording of Bauhaus' cover of the Dead Can Dance song "Severance".[35]

Daniel Ash in 2006

Bauhaus reunited again in 2005, playing that year's Coachella Festival in Indio, California. They opened their set with Murphy being lowered upside-down to the stage, singing "Bela Lugosi's Dead". Following Murphy's 2005 tour, Bauhaus embarked on a full tour beginning in North America in autumn 2005, ending in Europe in February 2006. During the tour, Bauhaus covered Joy Division's "Transmission".[36] The band also mentioned that they hoped to record new music. In May they performed as opening act for Nine Inch Nails on the summer leg of the latter's US tour.[37]

In 2008, Bauhaus released their first new studio album since 1983, Go Away White (Cooking Vinyl). It marked the band's end and the album had no promotional tour. In late 2007, Kevin Haskins said "We were getting along really well, but there was an incident that occurred", and added that as a result, "Some of us just felt that we didn't want to carry on as a working unit".[38] In early 2008, Murphy claimed that he "was most satisfied with the bonding on an emotional level. It was good to be working together and to put the past behind us and it was very positive. The result was coming out really fast, so it was exciting and it was very enjoyable", but in the end, "that rocky character worked and I think it was a bit right to finish it, really".[39] The same year, David J commented on the breakup: "You have a test tube, and you pour in one chemical, and you pour in another chemical, and something happens. It starts to bubble. Pour in another chemical, and it starts to bubble a bit more. You pour in a fourth chemical, and it bubbles really violently, and then explodes. That's my answer".[40]

In September 2019, after a 13-year hiatus, Bauhaus announced a show at the 5-000 seat Hollywood Palladium with all original members on 3 November. A second show was added for the following night, after the first show sold out quickly. A third date at the same venue was then confirmed for 1 December.[41]

Post-Bauhaus careers
Vocalist Peter Murphy.

After Bauhaus disbanded, the members of the band moved on to various solo work. Murphy worked briefly with bassist Mick Karn of Japan in the band Dalis Car, before going solo with such albums as 1986's Should the World Fail to Fall Apart, 1988's Love Hysteria and 1989's Deep. Ash had already started Tones on Tail with Bauhaus roadie Glen Campling as a side project in 1982; after Bauhaus broke up, Kevin Haskins joined the group, and the trio released an album and several EPs before breaking up after a 1984 American tour.[42] During this time, David J released two solo albums and collaborated with other musicians, recording two albums with the Jazz Butcher, and also with comics writer/spoken-word artist Alan Moore in the short-lived band the Sinister Ducks.

During a discussion about the state of their projects at the time, Ash and David J began talking about reforming Bauhaus. All four band members arranged a rehearsal, but Murphy failed to show up on the scheduled day. The other three band members rehearsed regardless, and were inspired by the chemistry they had as a trio. As a result, Ash and the Haskins brothers formed Love and Rockets in 1985.[43] Love and Rockets scored a US hit four years later with "So Alive". The band broke up in 1999 after seven albums. Both Ash and David J released solo albums during the Love and Rockets years; Murphy contributed backing vocals to David J's 1992 single "Candy on the Cross".

In 2017, Ash and Kevin Haskins toured as Poptone with Haskins' daughter Diva Dompe on bass.[44] The group performed songs from Bauhaus, Tones on Tail, and Love and Rockets along with cover songs. A live album recorded at various stops on the tour was released through PledgeMusic.[45]

In 2018, Murphy and David J announced a tour of New Zealand, Australia and Europe to celebrate the 40th anniversary of Bauhaus, with the pair performing In the Flat Field in its entirety.[46]

Musical style and influences
"Our influences were many. The obvious ones were glam rock and punk rock, but when we were recording, when we finished each day, we’d usually record in a residential studio so we would all stay together at night time. So when we’d wind down, we’d always play either dub reggae or late Beatles, like Sgt. Pepper. When I mention that to people they’re kind of surprised. So we weren’t listening to dark music, there were many influences."

Kevin Haskins, in regards to the band's influences.[47]

According to David J, the bands Bauhaus related to in the post-punk scene were Joy Division, Pere Ubu, Devo, Gang of Four, Cabaret Voltaire, and the Pop Group.[48] Among bands and singers who influenced Bauhaus, they cited Siouxsie and the Banshees, David Bowie, Scott Walker, and Jacques Brel.[49][50][51][52] Specific recordings that were influential on the band include the compilation album Nuggets and the Double Barrel single by Dave and Ansell Collins.[53][54]

Murphy said that, given their mixture of reggae and punk rock, they were "more aligned to the Clash than anything else that was going around." When asked about the influence of reggae on Bauhaus' music, Murphy stated that it was "massive. We were listening to toasting music all the time, and David brought in a lot of bass lines that were very lead riffs [...] those bass lines really formed the basis of the music" [55][56] In particular, dub reggae was highly influential to the band, so far that David J mentioned that their signature song, "Bela Lugosi's Dead", was intended as dub.[2][57][48][58][59][60]

When Daniel Ash was asked about how he developed his playing style and guitar influences, he replied: "My style of playing comes from a mixture of extreme laziness to learn proper scales/chords and a burning desire to sound original and new. Although I am a huge fan of Hendrix and Mick Ronson, Robert Fripp on Bowie tracks is also fab, and what about Earl Slick!"[61]

The band's other musical influences included various forms of rock (garage, glam, art, heavy metal, folk, experimental, krautrock), as well as avant-garde music, traditional pop and funk.[62][63][64][65][66][67][68][48] Outside of music, Bauhaus's influences were often literary and included William S. Burroughs,[69] Brion Gysin, Allen Ginsberg, Jack Kerouac,[70] Arthur Rimbaud, Charles Baudelaire, Greek Mythology,[71] Oscar Wilde,[72] and Antonin Artaud.[48] In regards to the influence of the original Bauhaus movement on the band, Murphy stated that "Bauhaus had no influence on Bauhaus (the band) except for being the sound, shape, energetic, and sensory birth name of our group."[73]

Bauhaus combined these influences to create a gloomy, earnest and introspective version of post-punk,[74] which appealed to many music fans who felt disillusioned in the wake of punk's collapse.[75] Its crucial elements included Murphy's deep and sonorous voice, Ash's jagged guitar playing and David J's dub-influenced bass. Their sound and gloomy style would eventually come to be known as gothic rock or simply "goth".[76][77]

Legacy and influence
Brixton Academy in London, England, 3 February 2006

Bauhaus are frequently considered to be the inventors of goth.[78] However, the band rejected this label, preferring to describe their style as "dark glam."[79] Murphy felt contemporary dark bands like the Cure had a larger hand in solidifying what became goth.[80] Ash nevertheless admitted: "if you wear black and your first single is “Bela Lugosi’s Dead,” you’ve pretty much got a stamp on you. That’s always been one of our strongest songs, so it’s sort of undeniable".[81] Various bands with goth associations then pointed to Bauhaus as an inspiration, including Christian Death,[82] Type O Negative,[83] Alien Sex Fiend,[84] Deine Lakaien,[85] AFI,[86] Lycia,[87] She Wants Revenge,[88] the Horrors.[89], the Dresden Dolls,[90] She Past Away[91] and Wolfsheim.[92] The Mission's Wayne Hussey even sang with Murphy on stage in 2013.[93]

Bauhaus were also influential upon many industrial rock groups and artists, like Ministry,[94] Marilyn Manson,[95] Nine Inch Nails,[96] Nitzer Ebb,[97] and Skinny Puppy,[98]

Bauhaus were also hailed by several alternative/indie rock groups including Jane's Addiction,[99] Soundgarden,[100] the Smashing Pumpkins,[101] A Neon Rome,[102] ...And You Will Know Us by the Trail of Dead,[103] Korn,[104] Hole,[105] Interpol,[106] My Chemical Romance,[107] Shearwater,[108] Elliott Smith,[109]Maynard James Keenan (from Tool).[110] The band has been cited as an influence by electronic act Carl Craig,[111] the American comedian/musician Reggie Watts,[112] the Iranian musician Azam Ali,[113] the Japanese post-rock Mono,[114] the electronica act Moby,[115] the trip hop band Massive Attack,[116] the crust punk band Amebix,[117] the psychedelic rock band White Hills,[118] the nu metal band Coal Chamber,[119] the extreme metal band Behemoth,[120] the grindcore band Napalm Death,[121] the hard rock/heavy metal band the Cult,[122] the extreme metal band Celtic Frost,[123] and the lo-fi musician Ariel Pink.[124] and the Flaming Lips.[125]

Bauhaus influenced Dead Kennedys frontman Jello Biafra in the writing of that band's 1982 album Plastic Surgery Disasters.[126] Duff McKagan of Guns N' Roses listed the Bauhaus compilation Bauhaus 1979–1983 in his 100 favorite albums list.[127] Courtney Love of Hole admitted that a lot of her songs are "complete Bauhaus rip-offs".[128]

The group have been namechecked by several other prominent musicians outside of the goth, industrial, and alternative genres, including Steve Albini (of Big Black),[129] Jeff Ament (of Pearl Jam),[130] Matt Noveskey (of Blue October),[131] Bradford Cox (of Deerhunter),[132] Courtney Taylor-Taylor (of the Dandy Warhols),[133] Jesse Hughes (of the Eagles of Death Metal),[134] Jaz Coleman (of Killing Joke),[135] Randy Blythe (of Lamb of God),[136] Fred Durst (of Limp Bizkit),[137] Jonathan Davis (of Korn),[138] Jello Biafra (of the Dead Kennedys),[139] Serj Tankian (of System of a Down),[140] Mark Lanegan (of Screaming Trees),[141] Sean Yseult (of White Zombie),[142] Bilinda Butcher (of My Bloody Valentine),[143] Alan Sparhawk (of Low),[144] Stuart Braithwaite (of Mogwai)[145] Jehnny Beth of Savages,[146] and Stephen Malkmus (of Pavement).[147] Blink-182 namedropped Bauhaus on their song "She's Out of Her Mind" on their California album.[148]

The Bauhaus song "All We Ever Wanted Was Everything" (from The Sky's Gone Out) was covered by several artists and bands, including John Frusciante (guitarist of the Red Hot Chili Peppers),[149] MGMT[150] and Xiu Xiu (who recorded it in 2006 for their Tu Mi Piaci EP). Billy Corgan of the Smashing Pumpkins sang T. Rex's "Telegram Sam" and "All We Ever Wanted Was Everything" live on stage with Bauhaus in 1998.[151] "Double Dare" was covered by the alternative rock band the God Machine.[152] "Hollow Hills" was covered by the alternative metal band System of a Down.[153][154] "Slient Hedges" (along with "Double Dare") was covered by the power metal band Nevermore.[155]

"Bela Lugosi's Dead", was covered by numerous acts, including Until December (1986), the Electric Hellfire Club (1996), Opera IX (on 2000 album The Black Opera: Symphoniæ Mysteriorum in Laudem Tenebrarum), Sepultura (on 2001 album Nation), Nouvelle Vague (on 2006 album Bande à part), Chris Cornell (2007),[156] Nine Inch Nails (2009),[157] Trent Reznor with Murphy and TV on the Radio (2013),[158] Massive Attack (2013),[159] David J with Jill Tracy (2013), Chvrches (for the 2014 Vampire Academy soundtrack),[160] Dead Cross (on their 2017 debut album)[161] and The Damned (2019).[162]

Cultural references

Bauhaus's fanbase extends beyond music; the American novelist Chuck Palahniuk was influenced by the Bauhaus song "Bela Lugosi's Dead" when writing his 2005 novel Haunted.[163] In James O'Barr's 1989 comic book The Crow, the facial features of Eric Draven were based on those of Peter Murphy.[164] In Neil Gaiman's series The Sandman, Dream's face and appearance were also based on Murphy.[165] Additionally, comic book writer Alan Moore wrote the sleeve notes of Mask and contributed an anonymous Bauhaus review called "Phantoms of the Teenage Opera" to the UK music paper Sounds.[166]

The 1984 music video of the song "You're the Inspiration" from the American band Chicago featured lead singer Peter Cetera wearing a Bauhaus T-shirt.[167]

In an interview at the CBGB, Axl Rose from Guns N' Roses is seen wearing a Bauhaus T-shirt.[168][169]

In the Beavis and Butt-head season 3 episode "Meet God, Part II" (1993), they view and comment on a music video for Bauhaus' Bowie cover, "Ziggy Stardust".[170]

Susie Lewis, the co-creator of the American animated series Daria, is a fan of the band[171] and used their song "1. David Jay 2. Peter Murphy 3. Kevin Haskins 4. Daniel Ash" in the closing credits of episode 213, "Write Where it Hurts".[172]

In the 2003 South Park episode "Raisins", Henrietta Biggle (one of the "goth kids") had a bedroom poster of "Blauhaus", a parody version of the band.[173]

In the 2017 The Americans episode "Darkroom", the Bauhaus song "Slice of Life" is played in the background of the red room scene. It was ranked #8 in Vulture's list of "The 10 Best Musical Moments in The Americans".[174]

Saturday Night Live's recurring "Goth Talk" skit used "Bela Lugosi's Dead" as its theme song.[175]

Members
  • Daniel Ash – guitars, acoustic guitar, saxophone, backing vocals
  • Peter Murphy – lead vocals, acoustic guitar, keyboards, melodica, congas
  • Kevin Haskins – drums, keyboards, piano, backing vocals
  • David J – bass, keyboards, percussion, backing vocals

Discography
Main article: Bauhaus discography
Studio albums

References
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  49. Lyon, Judy (20 October 2018). "Bauhaus' Kevin Haskins On His Involvement with Foxes Tv". Torchedmagazine. Archived from the original on 4 November 2018. Retrieved 1 November 2018. At the time there were two drummers who had an influence on me namely, Steven Morris from Joy Division and Kenny Morris from Siouxsie And The Banshees. I liked how Steven played sixteenth notes on the hi hat and he used this wonderful electronic drum called The Synare drum which I ran out and bought immediately! With Kenny I loved how he would use the tom tom drums rather than hi hats and cymbals.
  50. Snow, Mat (23 October 1982). Bauhaus The Sky's gone out review. NME. Peter Murphy comes across like David Bowie imitating Jacques Brel declaiming a pastiche of Lautréamont backed by the early Banshees.
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  52. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Apart from the Trojan Records reggae roster, Daniel and I were into artists like Scott Walker and Jacques Brel, both of whom had been brought to our attention by Bowie, who spoke glowingly about them in interviews.
  53. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Another big record for us was Nuggets, Lenny Kaye’s great compilation of 60s garage rock. These hard-to-find platters were like tablets from the mountain, and back in our candlelit teenage bedrooms we would pore over their grooves and bask in revelation.
  54. https://www.youtube.com/watch?v=owpjJXPzNMw
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  56. Matt Catchpole (4 August 2018). "Bela Lugosi's Read – Drummer Kevin Haskins' New Book Relives His Years With Goth Rockers Bauhaus". Essentially Pop. Essentially Pop. Retrieved 26 December 2020. Interviewer: "You attended one of the early Sex Pistols gigs – was that a ‘Road to Damascus’ type moment?"
    Kevin Haskins: "To a certain degree, it definitely was a revelation. Several months before The Sex Pistols gig I went to see Led Zeppelin at a Earls Court, a huge venue in London. They were in their prime, and it was a marvellous rock show. John Bonham played a blistering half hour drum solo. I left the show with a mixture of elation and depression. I knew that I could never be as technically good as Bonham, and a feeling of dejection enveloped me! Fast forward to the 100 Club. I had just left high school, dressed in flared denims and long hair, and immediately felt very out of place amongst the punks who consisted of Siouxsie, Sue Catwoman and Sid Vicious. The Clash took to the stage and it was like being hit by an express train! Their style and sound blew me away, and I instantly thought, "I can do this!" – such a cliche. The Pistols followed and I was converted. The next day I went to the barbers and had my long locks cut short and took my pyjamas in to the garage and splattered them with emulsion paint, Jackson Pollock style. That show gave me the confidence to use what little chops I possessed to great effect."
  57. Scott Feemster. "Peter Murphy - Biography". Amoeba. Amoeba Music Inc. Retrieved 30 March 2020. The group quickly arrived on a darkly driving post-punk sound that combined elements of glam rock, punk, dub, art-rock, heavy metal and the starkness of such other post-punk outfits as Joy Division and Public Image Limited.
  58. Hans Morgenstern (29 April 2013). "Peter Murphy Talks Meth Arrest and 35 Years of Bauhaus: "I Was Never a Punk"". The Miami New Times. The Miami New Times. Retrieved 9 November 2020. He can speak only for his influences, however, and notes the magic among the four souls of Bauhaus comes from an almost surreal level of trust among them. "Once we got in [the studio], we were inspired by each other," he says. "We dropped everything. We left everything out. You don't walk in there with any baggage. You walk in with each other. "You inspire each other, viscerally. You do it as you play, not with words. Less talking, more creating."
  59. Roger Catlin (31 October 2016). "Kevin Haskins - The TVD Interview". The Vinyl District. Mom and Pop Shop Media. Retrieved 9 September 2018. Our influences were many. The obvious ones were glam rock and punk rock, but when we were recording, when we finished each day, we’d usually record in a residential studio so we would all stay together at night time. So when we’d wind down, we’d always play either dub reggae or late Beatles, like Sgt. Pepper. When I mention that to people they’re kind of surprised. So we weren’t listening to dark music, there were many influences.
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  65. Hans Morgenstern (29 April 2013). "Peter Murphy Talks Meth Arrest and 35 Years of Bauhaus: "I Was Never a Punk"". The Miami New Times. The Miami New Times. Retrieved 9 November 2020. Murphy speaks for himself when he talks about the influences he brought to the band. "Kraftwerk were among my influences, very early on," he says,
  66. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Whenever we were in London we would scour the independent record stores for obscure American treasures on imported vinyl: The MC5, The Stooges, The Flaming Groovies, Jonathan Richman & The Modern Lovers, The Velvet Underground, Patti Smith, The New York Dolls (whose exciting appearance on The Old Grey Whistle Test was a key moment for us both).
  67. Andrew Brooksbank (23 September 2019). "David J 'Missive To An Angel From The Halls Of Infamy And Desire' : album review". Louder Than War. Louder Than War. Retrieved 9 November 2020. In the opening sequence of the epic Mosaic, David eloquently pays a homage of sorts to John ‘The Ox’ Entwistle, the legendary Who bass player who passed away, amidst a fatal mix of groupie and white lines, in room 658 at The Hard Rock Hotel, Las Vegas in 2002. ...Entwistle’s bass lines were a huge influence on the young Haskins, having witnessed The Who live at Charlton Athletic Football Ground back in 1976 with Brother Kevin and then bandmate Dave Exton…. “we exchanged a secret handshake on that day”
  68. "The Bubbleman Cometh: An Interview with Daniel Ash". Post-Punk.com. 2 July 2014. Retrieved 9 November 2020. Post-Punk: What did you listen to when you were growing up? DA: What really got me obsessed with music was a strict diet of early Bowie, T.Rex, Lou Reed, Iggy Pop and nothing else. Peter and myself grew up in the same school, we knew each other from about twelve years old and were really crazy about those bands I just mentioned. Particularly Bowie and Roxy Music as well. That whole glam thing from the early 70s. There’s a film called Velvet Goldmine which you’ve probably heard of. That pretty much summed up our youth at that school. I though that was pretty accurate, that film. Before that, when I was really young, I used to see stuff about The Beatles and The Dave Clark Five. That was another one. I was fascinated by the drum sound that that guy would get in the Dave Clark Five because there was all this echo. A massive drum sound. Apparently my mum told me my face used to be about four inches away from the TV screen with the volume up full, listening to the Dave Clark Five’s “Bits and Pieces.” So I suppose that was the first thing that really got me interested in music from about eight or so.
  69. Chad Radford (16 September 2016). "Bauhaus Bassist David J Plays The World Famous Tuesday". Flagpole. Flagpole Magazine. Retrieved 23 December 2020. In the beginning, he [David J] sculpted haunting, lo-fi moods steeped in post-punk cadences and lyrics written using William S. Burroughs’ cut-up technique—randomly selecting words and placing them together. “It introduces the element of chance which makes for certain juxtapositions of words and lines which you could never come up with in any other way,” he says.
  70. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. The atmosphere for the rest of the trip was dark and heavy. I buried my nose in a book: Satori In Paris by Jack Kerouac. ‘Satori’ is a concept in Zen Buddhism that describes a moment of sudden spiritual illumination. In his book, Kerouac applies this to his own ecstatic experience in the French capital, describing the revelation as the ‘kick in the eye’. This phrase would inspire the title of our next single, and the funk-driven track would point the way to the next evolutionary stage of the band.
  71. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. The album’s title track was a sprawling epic inspired—if that’s the word—by the quotidian mundaneness of life in Northampton, and the desire to escape that ‘flat’ existence. Peter’s interesting lyric drew on Greek mythology, referencing Theseus and the labyrinth, but there was another mythic figure with whom we would soon feel an affinity: the androgynous god of wine, excess, and ecstatic madness, Dionysus.
  72. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Bauhaus was always much enamoured of the glorious style of Mr Oscar Wilde, and the spirit of this perennial hero still resides over today’s reincarnation.
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    David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Marilyn Manson - "Bauhaus was like a hard cock in a dimly lit room filled with vampires. This book is told firsthand by one of the reckless few that created such an important and unusual genre of music. Their odd, witchy songs snaked themselves all the way from whence they came into my temporal lobe and impacted on what I ended up becoming as an artist."
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    Wilbert L. Cooper (15 January 2015). "Trent Reznor Talks About Making It Out of the Midwest". Vice. Vice Media LLC. Retrieved 30 March 2020. The other important thing that happened when I went to college was I finally had access to college radio. I never realized how much shit was out there. I discovered Bauhaus after they'd broken up and Joy Division and Throbbing Gristle and tons of shit that I just didn't know existed. You know that feeling where you find a new band you haven't heard of, then you discover them and you realize they have like three albums out? To me that's a great feeling because you can't wait to digest and absorb them. Well, that was happening with, like, 30 bands to me in college. It felt very inspiring to be a music fan.
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  99. Brown, Jake (2010). Jane's Addiction: In the Studio. Rock N Roll Books. ISBN 978-0972614276. Dave [Navarro] & I [Stephen Perkins] met those cats. They [Perry Farrell and Eric Avery] were more into Echo & The Bunnymen, Joy Division, Siouxsie & the Banshees and Bauhaus. I think that was the sound of Jane's Addiction
    Dan Epstein (20 August 2015). "Jane's Addiction Break Down 'Ritual de lo Habitual' Track by Track". Rolling Stone. Penske Business Media. Retrieved 26 December 2020. “We had really bizarre influences,” Navarro reflects. “The Velvet Underground, Led Zeppelin, Bauhaus, Van Halen and Rush were all part of our sound.
    Kevin Haskins. Bauhaus – Undead – The Visual History and Legacy of Bauhaus. Cleopatra Books. ISBN 978-0-9972056-2-6. Eric Avery: "When you sit down to write about a band like Bauhaus you are handcuffed by the fact that all the perfect descriptions for Bauhaus have been overused to describe lesser bands. They were a dark, sexual theatrical band that made music that is timeless. Music that didn’t sound like 1983, back then, any more than it sounds like 2016 now. It’s the flicker of a film projector. It’s the shout down the cone of a carnival barker. It’s the slither of a leather constraint. It is music that stands outside of time. It is a beautiful, surprising and singular as it ever was (and will continue to be for the same reason). There has truly, to me, quite literally, never been a band like Bauhaus."
    David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Perry Farrell: "Bauhaus roared across a musical moment in time that too few people were fortunate enough to be part of. For those who embraced the darkness, they were innovators of the morose in the league of Edgar Allan Poe. Using sound the way others use the colour spectrum, leaving us permanently dyed with their brave recordings. David J. Haskins shines a penetrating light on a missing link in music history with stories of band dysfunction and genius songwriting; allowing us in on the dismantling of goth’s most legendary freakshow."
  100. Dan Epstein (18 May 2018). "Chris Cornell: Remember the Complex Artist Behind the "Grunge Adonis"". Revolver. Project M Group LLC. Archived from the original on 18 May 2018. Retrieved 2 June 2018. The first Bauhaus record I bought was a live record [Press the Eject and Give Me the Tape]," he remembered. "Peter Murphy's hiding his face behind a cymbal — which is removed from the drum kit, which I liked — and he's singing. Something about that just spoke to me, like, 'I don't know what this is, but this has to be great.' They became one of my favorite bands.
    "Kim Thayil Says Soundgarden Resisted Early Led Zeppelin Comparisons". Blabbermouth. Blabbermouth.net. 2 March 2015. Archived from the original on 13 October 2018. Retrieved 13 October 2018. As a band, I think we really sprang from two things: this sort of British, moody, goth-y, bass riff-oriented music like Gang of Four, Joy Division, Bauhaus, Killing Joke, and then this guitar-oriented, post-hardcore thing in America, like the Meat Puppets and Hüsker Dü and the Butthole Surfers," he said. "I think those were two things that were really playing into what Soundgarden was about collectively when we formed, you know, in '84.
    Kot, Greg (18 October 1989). "Seattle's Big Noise Soundgarden Leads a Rock Invasion from the Northwest". Chicago Tribune. Archived from the original on 30 October 2014. Retrieved 13 October 2018. "Our music is as much influenced by British bands like Killing Joke and Bauhaus as it is by heavy metal." - [Kim Thayil]
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  103. Annie Zaleski (23 January 2020). "Arty rock band …And You Will Know Us by the Trail of Dead returns to Las Vegas after a lengthy absence". Las Vegas Weekly. Las Vegas Weekly. Retrieved 9 February 2020. [We’re] using some keyboards that are sort of synth-y and ’80s-sounding and bringing that into the mix of our noisy guitar rock—not doing it in a New Wave fashion but that darker pop. I love Echo & The Bunnymen and Bauhaus and all of that music, and there’s definitely British influence to our music.
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  110. Lina Lecaro (30 October 2019). "Back From the Dead: Bauhaus Reunited". LA Weekly. LA Weekly. Archived from the original on 30 October 2019. Retrieved 30 October 2019. “As contradictory as this may seem, Bauhaus being, in my opinion, the Godfathers of Goth: they were a bright artistic light in a vast wasteland of crappy pop darkness. They showed me the way.” - Maynard James Keenan
  111. Simon Reynolds (2012). Energy Flash: A Journey Through Rave Music and Dance Culture. Soft Skull Press. ISBN 9781593764777. Born in 1969 and brought up in Detroit's middle-class West Side, Craig took Detroit's Europhile tendencies even further than his mentor Derrick May. As a sensitive teenager, he was into bands like The Cure, Bauhaus and The Smiths.
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  113. Bryan Reesman (25 November 2019). "Azam Ali, the Ethereal Voice of Multiple Soundtracks, Keeps Enchanting Listeners With Solo Album 'Phantoms'". Billboard. Prometheus Global Media, LLC. Retrieved 16 May 2020. Supporting Bauhaus is apropos for Ali, given the aforementioned inspiration for Phantoms, which she feels came out at the right time to prepare her for this show. “If this had happened last year, I wouldn’t have known what music to play opening for Bauhaus,” she says. “But the fact that I did all the work to arrive to this point — that now I get to take the stage right before one of my biggest influences and perform the music that, in many ways, is a tribute to the legacy that so many of these bands launched — is incredible. You want to speak about how things come full circle. There’s a map out there where everything is connected.”
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  115. Lina Lecaro (30 October 2019). "Back From the Dead: Bauhaus Reunited". LA Weekly. LA Weekly. Archived from the original on 30 October 2019. Retrieved 30 October 2019. "Bauhaus were complicated, at times earnest, at times distant and ironic, at times delicate, at times vicious …I could never put my finger on them or what they did and that made me love them more." - Moby
  116. Cai Trefor (12 February 2019). "Watch: Massive Attack Cover Bauhaus 'Bela Lugosi's Dead' in Paris - Bristolian trip-hop legends take a trip down memory lane with cover of a track by a band that sparked the birth of Massive Attack". Gigwise. Gigwise Ltd. Retrieved 7 November 2020. The footage, streaming below, is filmed by Massive Attack biographer, Melissa Chemam, and the writer offers some insight into the band's history with the track. Writing on YouTube Chemam states that Massive Attack first introduced this cut to their set in 2013; for their first show with Adam Curtis doing visuals. She is referring to the gig at The Park Avenue Armory in New York on 30 September that year. Chemam describes the cut as one of Robert (3D) Del Naja's favourites and explains that Bauhuaus are a big influence on Massive Attack.
  117. Ian Glasper (2014). The Day the Country Died: A History of Anarcho Punk 1980–1984. PM Press. p. 200. ISBN 9781604865165. “Yeah, we were developing all these influences from people like Bauhaus and Joy Division...."
  118. Julian Marszalek (19 March 2012). "Sautéed For Es And Whizz: Getting Fried With White Hills". The Quietus. TheQuietus.com. Retrieved 14 November 2020. JM: "There seems to be more of a European sensibility to your music than any American roots. Do you find yourself gazing across the Atlantic more for inspiration?" DW: "When I kind of really got into music it was all about British music for me. I was always reading the British rags and seeing who was new and what was out and buying any import I could gobble up. When I was very young I had a friend who had some older brothers and that was the first time I heard Motorhead and Sex Pistols and that was like nothing I’d heard before that. As a young kid I was all about San Francisco hippy bands but the biggest record that gave me my first proper mindfuck as a kid was P.I.L.’s Metal Box and that really set me off on the tangent. I then got into Juju-era Siouxsie And The Banshees and Bauhaus and that whole kinda thing. Then I got into bands like The Telescopes and Thee Hypnotics, Loop, Spacemen 3 and that whole era. I was gobbling up everything that I could."
  119. "Coal Chamber's Dez Fafara Says 'Nu Metal' Bands Broke New Musical Ground". Blabbermouth.net. Blabbermouth.net. 19 April 2015. Retrieved 29 November 2020. ...I think there's this generation now of not only 15-to-17-year-olds but even [people who are between] 20 and 30, why they go back to that music and listen to it, or why they would even wanna listen to a new Coal Chamber record is they know it's gonna be something different. And that's what was beautiful about that time and era and that music —there was so many different influences to that music. You know, Coal Chamber has this metal influence along with this Bauhaus and goth kind of thing with us.
  120. Paul Travers (29 May 2020). "How Goth And Post-Punk Influence Behemoth's Extreme Metal". Kerrang. Retrieved 29 November 2020. Nergal: "While I started growing my interest in gothic and post-punk music, stuff like The Sisters Of Mercy and Fields Of The Nephilim, at some point The Cure must have come out for me as one of the core originators of the genre. It was a group of bands with Bauhaus and Peter Murphy and a few others that I found. I’m not really immersed in the genre but some of those bands are absolutely groundbreaking. I listen to more than just metal; there are certain dark atmospheres in different kinds of music that appeal to me and I’ll just go for that."
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  123. Dayal Patterson (2013). Black Metal: Evolution of the Cult. Feral House. p. 48. ISBN 9781936239764. All the same, Celtic Frost were clearly also utilizing a much wider spectrum of influence, including that of gothic rock acts such as Bauhaus and Christian Death, and were already beginning to demonstrate the decidedly innovative approach to songwriting (evident in the restrained but notable use of violin and female vocals) that would increasingly earn them the “avant-garde metal” tag.
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  125. Richardson, Mark, ed. (2010). Flaming Lips' Zaireeka. Continuum. pp. 35–36. ISBN 9780826429018. Their first EP from 1984, self-released and pressed in a run of 1,000 vinyl copies, was influenced by darker UK rock on the goth end of the spectrum, bands like Bauhaus and Echo and the Bunnymen.
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  138. Furman, Leah (2000). Korn: Life in the Pit. Macmillan. p. 17. ISBN 9781466809291. Still, in those days, it wasn't easy being Jonathan Davis. ..."I was into Bauhaus, Ministry, Depeche Mode..."
    Zoe Camp (25 May 2018). "See Jonathan Davis Record "Dark World-Music/Gothic" Solo Song "Basic Needs"". Revolver. Project M Group LLC. Archived from the original on 25 May 2018. Retrieved 2 June 2018. "I don't remember writing it," says Davis, discussing "Basic Needs" from the studio chair. "It just kind of came about. It's definitely got the dark world-music/gothic vibe, but that's just for me, what I'm inspired by. I love bands like Bauhaus, I love Peter Murphy, I love Dead Can Dance ... I loved all of these different kinds of band when I was growing up, and that's just what [came] out of me.
  139. David J. Haskins (2014). Who Killed Mister Moonlight?: Bauhaus, Black Magick, and Benediction. Jawbone Press. ISBN 9781908279675. Jello Biafra - "In many ways, Bauhaus were the darkest and deadliest of Britain’s post-punk pioneers. Seeing them live in London the week ‘In The Flat Field’ came out is an experience I’ll never forget. Instead of overkill, they were the masters of underkill and spine-tingling tension. Then they got famous. Now, David J. Haskins reflects on both personal and collective evolution and how to rise from the ashes the right way when a truly great band breaks up. And to think it all started in a vacuum, far away from the lights of London, in a sleepy market town in the Midlands. It’s amazing how far people can go when they’re not afraid of their own intelligence, curiosity, and new ideas. I don’t think he’s done, either."
  140. Merlin Alderslade (4 September 2016). "Serj Tankian: 10 albums that changed my life". Louder Sound. Future Publishing Limited Quay House. Retrieved 7 November 2020. I liked goth and new wave in the 80s – Depeche Mode, Sisters Of Mercy, Bauhaus…”
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  163. Douglas Keesey (2016). Understanding Chuck Palahniuk. Univ of South Carolina Press. ISBN 9781611176988. It is not only these literary traditions that have informed and inspired Palahniuk's fiction; there are significant cinematic and musical influences as well. ...When it comes to music, Palahniuk has said that “the punk esthetic shaped my work: Start loud, run short, end abruptly.”93 Punk, industrial rock, and other edgy, confrontational styles tend to be the major influences.... ....To get into the right mood to create his damaged and sometimes dangerous characters, Palahniuk will often listen to the same song on repeat while he is writing. These have included Radiohead's “Creep” for Choke, Depeche Mode's “Little 15” for Diary, and Bauhaus's “Bela Lugosi's Dead” for Haunted.
  164. Smith, Evans; Brown, Nathan (2008). "22: Comparative Mythology in Pop Culture". The Complete Idiot's Guide to World Mythology. Penguin Books. p. 287. ISBN 9781436268103. The physical appearance of Eric Draven was based heavily on the face of Peter Murphy of the band Bauhaus, who O'Barr also saw while in Germany, and the body of rock icon Iggy Pop.
    Voger, Mark (2006). "As the Crow Flies". The Dark Age. TwoMorrows Publishing. p. 51. ISBN 9781893905535. Q: How did the Crow character of Eric come to you? O'Barr: Basically, I was just playing around with the makeup on the face. I was in England. On the side of a building was painted the three faces of the English theater, which were Pain, Irony and Despair. The smiling face was Irony. So that's basically where the makeup came from. Physically, Eric is kind of a mixture of Iggy Pop and Peter Murphy.
  165. McKean, Dave; Gaiman, Neil (1997). The collected Sandman covers, 1989-1997. Watson-Guptill. p. 1. ISBN 9780823046324. The Sandman image was inspired by Peter Murphy, the ex-Bauhaus singer and Maxell tape model, because when artist Mike Dringenberg saw the original sketches for the character he said "He looks like Peter Murphy from Bauhaus."
    McCabe, Joseph, ed. (2004). Hanging Out with the Dream King: Conversations with Neil Gaiman and His Collaborators. Quach, Sophia (photographer). Fantagraphics. p. 92. ISBN 9781560976172. ['Sandman' artist Kelly Jones talks about the inspiration behind Dream's appearance] I know Neil always said [the Sandman] was based on Robert Smith of the Cure, but I just hated the Cure. I didn't want to hear that. I was really into Peter Murphy at that time, the guy from Bauhaus. I didn't like Bauhaus, but I liked him on his own, and he had a song called "Cut You Up" or something; it was on the radio at the time. I bought the CD, and I said, 'You know, with that big poufy hair, he looks like that guy.' At that time, Murphy was very gestural. I don't think the guy ever had a picture taken of him that wasn't angled and in deep lighting. So I took that, too. I said, 'Whenever I do him, I'm gonna do that kind of thing. And get into his face, don't just keep him in deep shadow all the time. He will be in deep shadow all the time, but I want to put across a guy who's clueless. Not stupid, but he's not understanding things.' Because he's an immortal guy who...
    Gaiman, Neil (16 February 2013). "The Official Neil Gaiman Tumblr". Tumblr. Archived from the original on 10 November 2013. Retrieved 10 July 2013. The original idea-model for Morpheus was Peter Murphy from Bauhaus.
    Gaiman, Neil. "Neil Gaiman – FAQ – Comics". Archived from the original on 22 September 2012. Retrieved 22 September 2012. If I remember correctly Dave based the face on the cover of Sandman #1 on an image of Peter Murphy.
    Baddeley, Gavin; Woods, Paul A. (2006). Woods, Paul A. (ed.). Goth Chic: A Connoisseur's Guide to Dark Culture (2nd ed.). Plexus. p. 1941. ISBN 9780859653824. Sandman inker Mike Dringenberg observed, '"Hey, [he] looks like Peter Murphy from Bauhaus.'" Cover artist Dave McKean and Gaiman 'got some Bauhaus videos and immediately saw that Mike was right; and Dave ended up making the central image on the cover of Sandman [number one] a Peter Murphy-like face.
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    Khoury, George (2003). The Extraordinary Works of Alan Moore. TwoMorrows. ISBN 9781605490090. "Phantoms of the Teenage Opera" half-page article on the group Bauhaus. uncredited but unmlstakeably by Moore, later confirmed on the letters page of the November 29. 1980 issue (p.62): in the course of replying to a reader's letter the editor remarks,...
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