Bauhaus (band)

Bauhaus are an English rock 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]

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".[17] 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.[18] 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.[19] Bauhaus released "Kick in the Eye" in March 1981 as its debut release on the label. The single reached No. 59 on the charts.[20] The following single, "The Passion of Lovers", peaked at No. 56 in July 1981.[21] 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.[22]

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.[23] 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. [24] Due to the success of the single, the album also became the band's biggest hit, peaking at No. 4.[25] 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.[26]

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.[27] 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.[28] Bauhaus then embarked on an international promotional tour for the album, with dates in Europe and the Far East.[29] 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".[29] Burning from the Inside was released a week later. The album received largely positive reviews and reached No. 13 on the charts.[30] Bauhaus released the single "Sanity Assassin" in limited quantities as a farewell gift for those who joined the group's fan club.[31]

Subsequent developments: reunions and a final album

Bauhaus reunited for the "Resurrection Tour" in 1998, which 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".[32]

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".[33] 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.[34]

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".[35] 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".[36] 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".[37]

In September 2019, after a 13-year hiatus, Bauhaus announced a show at the 5-000 seat Hollywood Palladium with all original members on November 3.[38] 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 December 1.[39]

Post-Bauhaus careers

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.[40] 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.[41] 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.[42] 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.[43]

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.[44]

Musical style
Vocalist Peter Murphy.

Bauhaus cited early post-punk bands Joy Division and Siouxsie and the Banshees among their influences.[45] Daniel Ash said his earliest influence was the music of Dave and Ansell Collins, particularly their Double Barrel single.[46] The singing was compared to David Bowie and Jacques Brel.[47][48] The band's other influences included punk rock (e.g. Devo, the Stooges and Sex Pistols), glam rock (e.g. David Bowie, T. Rex, Alice Cooper and Gary Glitter), psychedelic rock (e.g. Syd Barrett, Pink Floyd, the Beatles and The Doors), art rock/avant-garde music/experimental rock (e.g. Brian Eno, Captain Beefheart, Frank Zappa, Pere Ubu, Roxy Music, Suicide and the Velvet Underground), krautrock (e.g. Kraftwerk, Can and Neu!), funk (e.g. James Brown, Bobby Byrd, Sly and the Family Stone) and Jamaican dub music (e.g. Lee Scratch Perry, Errol Thompson and King Tubby).[2][49][50]

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" [51] 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."[52]

Bauhaus combined these influences to create a gloomy, earnest and introspective version of post-punk,[53] which appealed to many music fans who felt disillusioned in the wake of punk's collapse.[54] 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.[55]

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

Although the band were short-lived, their music was influential upon many bands and artists that followed. They had a significant impact on gothic, darkwave and deathrock artists including Christian Death,[56] Type O Negative,[57] and Deine Lakaien.[58] The Mission's Wayne Hussey sang with Murphy on stage in 2013.[59]

Bauhaus inspired many industrial rock groups and artists, like Marilyn Manson,[60] Nine Inch Nails,[61] Nitzer Ebb,[62] Skinny Puppy,[63] and Maynard James Keenan (from Tool).[64] The band has been cited as an influence by electronic act Carl Craig,[65] the Iranian musician Azam Ali,[66] the electronica act Moby,[67] the crust punk band Amebix,[68] the hard rock/heavy metal band the Cult,[69] the extreme metal band Celtic Frost,[70] and the lo-fi musician Ariel Pink.[71] Bauhaus were also hailed by several alternative/indie rock groups including Jane's Addiction,[72] Soundgarden,[73] the Smashing Pumpkins,[74] A Neon Rome,[75] AFI,[76] ...And You Will Know Us by the Trail of Dead,[77] Korn,[78] Hole,[79] Interpol,[80] My Chemical Romance,[81] She Wants Revenge,[82] Shearwater,[83] Elliott Smith,[84] the Dresden Dolls,[85] the Flaming Lips[86] and the Horrors.[87] Bauhaus influenced Dead Kennedys frontman Jello Biafra in the writing of that band's 1982 album Plastic Surgery Disasters.[88] Duff McKagan of Guns N' Roses listed the Bauhaus compilation Bauhaus 1979–1983 in his 100 favorite albums list.[89]

The group have been namechecked by several other prominent musicians, including Steve Albini (of Big Black),[90] Jeff Ament (of Pearl Jam),[91] Bradford Cox (of Deerhunter),[92] Courtney Taylor-Taylor (of the Dandy Warhols),[93] Jesse Hughes (of the Eagles of Death Metal),[94] Al Jourgensen (of Ministry),[95] Randy Blythe (of Lamb of God),[96] Fred Durst (of Limp Bizkit),[97] Jonathan Davis (of Korn),[98] Mark Lanegan (of Screaming Trees),[99] Sean Yseult (of White Zombie),[100] Bilinda Butcher (of My Bloody Valentine),[101] Alan Sparhawk (of Low),[102] Stuart Braithwaite (of Mogwai)[103] Jehnny Beth of Savages,[104] and Stephen Malkmus (of Pavement).[105] Blink-182 namedropped Bauhaus on their song "She's Out of Her Mind" on their California album.[106]

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),[107] MGMT[108] 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.[109] "Double Dare" was covered by the alternative rock band the God Machine.[110]

The band's signature song, "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),[111] Nine Inch Nails (2009),[112] Trent Reznor with Murphy and TV on the Radio (2013),[113] Massive Attack (2013),[114] David J with Jill Tracy (2013), Chvrches (for the 2014 Vampire Academy soundtrack),[115] Dead Cross (on their 2017 debut album)[116] and The Damned (2019).[117]

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.[118] In James O'Barr's 1989 comic book The Crow, the facial features of Eric Draven were based on those of Peter Murphy.[119] In Neil Gaiman's series The Sandman, Dream's face and appearance were also based on Murphy.[120] 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.[121]

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.[122]

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".[123]

Susie Lewis, the co-creator of the American animated series Daria, is a fan of the band[124] 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".[125]

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.[126]

Saturday Night Live's recurring "Goth Talk" skit used "Bela Lugosi's Dead" as its theme song.[127]

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
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References
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  46. https://www.youtube.com/watch?v=owpjJXPzNMw
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  49. 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.
  50. 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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  58. DJ Ollie (1992). "Interwiev: Deine Lakaien". Klangtanke. Archived from the original on 17 November 2016. Retrieved 19 April 2019. Ja, auch ein Einfluß. Ich denke bei Ernst warens hauptsächlich die spätsiebziger Elektronikpioniere, die frühen Ultravox, natürlich Kraftwerk. Und bei mir waren es doch eher die Bands, die mehr so aus der Bad Cave Ecke kamen, Post-Punkt auch viele Gitarren-Bands von Virginbruns bis Bauhaus, Joy Division, was es so alles gab.
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  61. "TR Updates from Trent – Entry 03-23-2006". Nin.com. 23 March 2006. Archived from the original on 11 December 2013. Retrieved 9 December 2013. Bauhaus has been a major influence of mine over the years. Their sound, look and style made me want to start a band. One of the first tours we were on was with Peter Murphy - a hero of mine. To share the stage with these guys now is truly an honor.
    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.
  62. "Douglas McCarthy Interview". Documentaryevidence.co.uk. 2012. Archived from the original on 8 October 2018. Retrieved 9 December 2013.
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  63. Cross, Alan (2012). Skinny Puppy: The Secret History. HarperCollins. ISBN 9781927002124. Having discovered the industrial-grade thumping and noise terrorism of UK bands such as Throbbing Gristle and Cabaret Voltaire, and the moodiness of Bauhaus, Joy Division, early New Order and Depeche Mode, Key and Ogre set about creating their own brand of electronic attack.
  64. 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
  65. 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.
  66. 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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  68. 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...."
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  72. Brown, Jake (2010). Jane's Addiction: In the Studio. Rock N Roll Books. ISBN 0972614273. 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
  73. 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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  98. 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.
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  118. 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.
  119. 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.
  120. 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.
  121. Parkin, Lance (2011). Alan Moore. Oldcastle Books. ISBN 9781842434604. ...Mask by Bauhaus in the issue dated 26 February 1981 (Moore also wrote the sleeve notes for that album, as Brilburn Logue)...Moore wrote the programme for Bauhaus: Burning the Inside Tour (1983).br />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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