Press the Eject and Give Me the Tape
Bauhaus Press the Eject and Give Me the Tape
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Formed in 1978, The legendary and hugely influential quartet hailed from Northampton, England and is comprised of Peter Murphy, Daniel Ash, David J and Kevin Haskins. The dark, dramatic music that they made, possessed far more force, variety and playfulness than the “founding fathers of goth” tag that is always attached to them.
Bauhaus’ landmark debut album, In the Flat Field, came out towards the end of 4AD’s first eventful year. Following the plan at the time, the band then “moved upstairs” to Beggars Banquet, for whom they cut three further albums before dissolving in 1983. They charted with their cover of David Bowie’s “Ziggy Stardust”, and they’ve been name checked by everyone from Nine Inch Nails, Sepultura, Janes Addiction, MGMT, Interpol, Bjork, Nirvana and more. They remain a huge cult concern, periodically reforming to wow their legions of dedicated followers.
The band’s members continue to make new music. Peter Murphy enjoys a successful solo career and both Daniel Ash and David J have released a number of critically acclaimed solo albums and collaborative projects. Love And Rockets consisted of Daniel Ash, David J and Kevin Haskins. Tones On Tail was comprised of Daniel Ash and Kevin Haskins. Poptone is a retrospective project, featuring Daniel Ash, Kevin Haskins and his daughter Diva Dompé, revisiting the music of Bauhaus, Tones on Tail, and Love and Rockets.Released in 1982, this is a live album, compiled from shows across the UK from 1981–82. From the start, Bauhaus were a potent live attraction and this collection gives a flavor of their electrifying live shows.
Press the Eject… features a striking version of John Cale’s “Rosegarden Funeral Of Sores,” a particularly spooky run-through of “Hollow Hills” that out-creeps the studio version on Mask, and the punk rock fuzz-out of “Dark Entries”. Until Crackle’s release, this was also the only album to include a version of their classic debut single, “Bela Lugosi’s Dead”. Washed in feedback and ever-so subtly accelerating and decelerating, this song is the true center of “Goth” mythology.