Mask

This whips ass. They've got a dude who's probably a worse vocalist than me, the thinnest, shittiest production imaginable and they've swathed the whole thing in reverb. It's simply majestic as to the degree that this sucks, therefore it gets a maximum score from yours truly.

It’s somewhat reminiscent of Joy Division in that it has that Martin Hannett style wall of sound production that sounds like it was recorded underwater or in someone’s bathroom. Unlike Joy Division though, this was good, not as depressing and didn’t want to make me slit my wrists. It’s just balls to the floor straight ahead industrial post/punk no wave that often funks. It’s good stuff and you can dance to a lot of it. Even better, for once the bonus tracks are not just a bunch of shit demos slapped on the end as an afterthought, they actually add to the overall package, rather than detract from it. Winning!

Time to put on my darkest eyeliner, it's goth time

“Mask” by Bauhaus (1981) Never heard this album or group. I’m familiar with Bauhaus, the original early 20th century German art movement, and this group attempts to do a similar thing in the 1980s. Formal order to the point of monotony, accentuating the surrounding chaos. It’s cool. Fascinating, even. Proto-goth rock, anyone who enjoys both Jane’s Addiction and David Bowie will enjoy this album, if he or she has the patience for nearly unending minor keys and mechanical proto-disco rhythms. Thoughtful lyrics, even if frequently obscure. For example, in “Fear of Fear”, we get a hopeful message, encouraging the listener to overcome his or her insecurities or anxieties, bringing to mind that strange advice from Franklin Delano Roosevelt, “The only thing we have to fear is fear itself”, which is the silliest advice ever to receive public acclamation. I think Bauhaus would agree. Nice ‘tribute’ to Debbie Harry on “Harry”, although I’m not sure how she would feel about the line “They'll line you up and strip you down and then you'll see / That you're still the horny two-eyed bitch you used to be”. The song "1. David Jay 2. Peter Murphy 3. Kevin Haskins 4. Daniel Ash" is very cool. Actual backmasking as an art form on “4. Daniel Ash”. Wonderful fishcake recipe on “2. Peter Murphy”. Highly recommended. Musically, the album is inventive (this 1981, remember), and it is performed with exactitude, both in the solid grounding of the rhythm section and the sometimes ethereal melodies and harmonic flourishes. Lots of 1980s electronic experimentation. A good album, if somewhat dated. 3/5

Groovy haunted and so well paced

Haven't heard this record before. Love it. Maybe I should become a goth.

Funhaus

FISHCAKES

2.84??? This is so awesome! Easy 5/5. Sad but wired stuff.

love my sad boi music this album feels so cohesive, there's not a song that feels out of place

I like it and I’m really sorry that girl sold all your shit, Andy. Five stars.

Creepily good. The album cover is a masterpiece. Bass and guitar on ‘Dance’ is dope.

That’s what the point of the mask is

LCD Soundsystem for old people. Blatant biting makes 'Losing My Edge' even more enjoyable. Bauhaus 'Hair of the Dog' intro: https://www.youtube.com/watch?v=gqXycgODO5Y LCDS 'Losing' intro: https://www.youtube.com/watch?v=6xG4oFny2Pk Bauhaus 'The Man with X-Ray Eyes': https://www.youtube.com/watch?v=aPGkSP2wnyo LCDS 'X-Ray Eyes': https://www.youtube.com/watch?v=_PK1OcXp1t8 LCDS 'Bela Lugosi's Dead' live (2024) https://www.youtube.com/watch?v=Iix7JmtArJw Extra star for revisionist history (TY LCDS).

Oh shit. This is actually playing weird and dark shit the right way. I think I really liked it actually.

I am digging the groove right off the bat. shit that started me on the third track! I am still digging the groove. THE PASSION OF LOVERS IS FOR DEATH!!! In Fear of Fear is another cool tune. Great album really toroughly enjoyed that.

Truly never heard of this band. Very interested to hear what they sound like. These guys are interesting, very cool stuff.

At best, a poor man's Cure. Yes, dark, but the sound is thin and tinny, as if it's being heard on a distressed cassette tape in an underpowered Japanese-made compact car with a weak stereo system in the early 1980s, which in one's case, indeed it was. "Of Lillies" is of some interest. One likes some of the shearing guitars (e.g., on "Dancing") but the overall feel of even the strongest moments ("Kick in the Eye") is of being quite dated.

Shockingly underwhelming. I think it’s completely fine for early goth, and there’s a decent amount of good stuff on Mask, but it’s never mind-blowing. There’s also a lot of elements that proved to be influential, but sound really awkward and poorly executed in Bauhaus’ hands. The spoken word gloomy poetry of “Of Lilies and Remains,” the Jim Morrison-esque crazed jitter of “Muscle in Plastic,” the effects-riddled closer/title track that makes you want to jump through the speakers and tell them to turn OFF the pedal board. The songs that do work, though, are still not the strongest goth songs in history. The grating vocals nearly ruin “Dancing” and “The Man with X-Ray Eyes,” and the annoying delay effects on “The Passion of Lovers” teaches us that there’s a such thing as too much aesthetics. Bauhaus is a good band, but rarely a great band. It seems like their biggest strength was just being early to the party and bringing a sound and an aesthetic that was damn near inevitable, given the post-punk scene at the time. The guitars can be cool when they aren’t washed out, the vocals can be good when it’s not riddled with spoken word tropes, and the rhythm section does evoke the right vibe when it’s not fighting to course-correct the previous two issues. It sounds like I hate Mask, when I don’t. It’s just a 60/40 album with a bad batch of tracks, and good tracks with bad habits sprinkled throughout. If it sounds like I hate Mask, it’s explicitly because everyone knows Bauhaus *can* write songs a million times better than this. In fact, they did!! The album’s biggest weakness is that it doesn’t have the seminal goth track “Bela Lugosi’s Dead.” The issue is that “Bela Lugosi’s Dead” never ended up on a proper album, which means it couldn’t be included in this book, so in order to include Bauhaus, the book had to make a choice, and while Mask isn’t a bad album, I think it is a bad choice to include on this list. If you take the time to listen to “Bela Lugosi’s Dead” and immediately listen to Mask back-to-back, it’s clear that Mask isn’t even a fair replacement for that single. Honestly, I think the song “Hollow Hills” summarizes Mask best: it’s a good goth song if you have little to compare it to, but less than impressive if you’ve heard other seminal goth songs. And not to play the comparison game, but Juju came out 4 months before Mask! It’s sad that Bauhaus can’t reach the heights of their first single, but being first doesn’t absolve you enough to validate a mid-tier album.

Maybe Goth was scary and dark and menacing when it first hit the scene, but now it just feels kind of “spooky”, like the cheesy haunted house that used to petrify you as a kid.

A solid post punk album, one that made me want to hear live.

This was very....strange. I was expecting something like Joy Division or The cure (things that I like), but it was more...darker and strange. I liked it, but not too much.

A bit weird, it didn't wake up anything inside me, but also didn't bothered me to listen

🎧This thing is kind of a mess. Nothing against goths.

Fucking terrible to listen to. This did absolutely nothing for me.

Goth. Sounds super sloppy and incoherent and the vocals were wholly unenjoyable. Some passable beats occasionally. 2.0 stars.

So I saw Bauhaus at a music a festival a awhile ago, and thought their set was pretty decent… Now of course I was getting the “Best Of” set-list, so was curious how this album would sit with me… Turns out not-so-much… It is fairly original, but there’s not a whole lot you can really do with that “sound” as it gets pretty repetitive after a bit… The only tracks that were mildly interesting – and I emphasize the word MILDLY, were “The Passion Of Lovers”, & “Kick In The Eye”… I see people going on and on about the “David, Peter, Kevin, etc.” song – so I was kinda curious about that one, but what an utter waste of time… Gonna give this a 2 since seeing them live – albeit playing the best of their material over the course of their career, was at least interesting, and doubt they would have gotten to that place without albums like this that moved them along the process of developing their sound…

Des bruits bizarres puis d'autres bruits et encore des bruits bizarres, c'est vraiment pas le style de musique que je préfère. Reprends toi rapidement Robert.

Not a fan of this kind of music at all. Also, why did one of the final bonus tracks go from gothic to reggae?

hey kids, goth is fun. the album has this gloomy and cold aesthetic that i like, the driving rhythm slaps hard. 5/5

Still need to listen.

What a surprise. The masters of Goth on Halloween! Having been a Goth back in the 1980's, it's always a pleasure listening to something from the dark side. Mask has two fine singles in the shape of 'Passion of Lovers' and the album remix of ' A Kick in the Eye' (I do refer the single version). The album features the immense 'Mask' at the end which is so atmospheric. This lot were more on the camp/ glam side of Goth and plenty of ghostly death inspired lyrics, add together some great guitar work and funky bass playing, you end up with what is probably the best thing to come out of Northampton since Doctor Martens. 5 stars.

I knew that Bauhaus was seminal to if not the originators of goth music (and culture), but what I failed to recognise were the spin-offs of their breakup, including Love & Rockets and the one-hit wonderful Tones on Tail. I bopped to about 50% of this album (the part that sounded like vintage mid-70s Bowie) and got serious Joy Division vibes from the other 50%. I’ve 5-starred both of those, so what choice do I have?

Very cool

This album is so bizarre that I think I'm in love with it. Favorite track: Satori

Essential Bauhaus.

Good, really good. Twisted and dark and weird rhythms

Perfect. One of my favourite albums ever. In the Flatfield is also great of course, but this one contains Mask.

A great album that is really fascinating with its... groove. Yes, that's right. Bauhaus never wanted to be labeled as 'gothic rock'. While their music is dark and the title track shows this perfectly (as 'Hollow Hills', my favourite) other songs really put the drums and bass to the forefront and let it roll nicely. If you read up on the band it's not that surprising since they loved reggae. All in all, this album is an atmospheric journey that keeps you invested in each track. One of the highlights of this list.

Bauhaus makes goth music fun. This album was a blueprint for so many goth bands that followed but what makes it stand out is the total uniqueness of the music itself.

In the muggy serenity of a red sky morning, I revisit this dichromatic glam rock gem, which I first heard on a chilly, acid soaked night/morning thirty three years prior. Still high. Not as high. Still high, though. Different times, ya see. "Goth", as I came to understand, signifies nothing but black and white silver screen teenage glam. As a genre of popular music, its useful to understand that these sorts of labels are the inventions of critics who, regardless of other ideological considerations about the phenomenology of music, all want to be great taxonomists: the Coiner of a Genre Name. A band like Bauhaus, like the punks before them, were studied in the same artists and records. The Velvets, The Stooges, Bowie, Roxy Music and all the great Dub Reggae that were floating around the UK. In the US, the latter really wasn't a thing; Aside from the phenomenal Christian Death out of LA, The Doors got substituted for the Dub, and well, if you like Jimbo Lizardpants, have at it. The difference is depth and proportion; The original punks, by and large, loved the immediacy of what can be done with four rock n roll chords when played fast. The best, in my opinion, went from there. The rest got mohawks and established the official sartorial choices. Bauhaus went hard into the weird psychodramas of early Bowie, communed with the deep cut VU, favorited masochistic love songs, Bryan Ferry's silver screen louche and ennui stricken debonair, the absolute basslines of Dub. And, clearly, explored the rabbit holes only fans will follow. Bowie hero Scott Walker. The art rock of John Cale, Nico, and Eno. All of it theatrical. All Glam. Theatrical kids are drawn to the theatrical, the dramatic to the dramatic. Throw in silent and mid-century art films. Bauhaus. That first impression was of the self-contained universe the album created. It had its own physics. The bass is rainbow gravity, and everything else bounces around, with songs forming like cloudshapes, instruments and sounds objects in the sky, death ray guitars, Peter Murphy, sounding like Iggy Bowie at their most decrepit and spent, offering commentary. Vapor trails. Disquietude. Exiliration and the ecstasy of the psychic connection one can have with a record: the mind meld. Bauhaus. These years later, and still high, though different shit, different times (fuck you teenage me; I got a license to Ill), and, aside from time permitting me to really explore the same rabbit holes as Bauhaus; proceeding from the same sources. That exploration led me to same places, a, and I am able to spot the same influences. Edge Lords, naturally, would declare this as derivative and therefore, shit, and return to glaring women out of the record store. Edge Lords are Rogans—obvious and obtuse. Tree-spotters, if you like. What Bauhaus do, song to song, is take those things, and remake them inside of their universe. What if John Cale had Dub as inspiration. What would the low end on "Sister Ray" sound like? And what would the imagined black and white movie look like? Theatrical. Glam. One of my absolute all -time favorites "The Passion of Lovers" is the second track, all melodrama and with a huge hook, and all of it sounds new. "Of Lillies and Remains" teleports the VU's "Lady Godiva's Operation" into a twisted Victorian parlour drama starring Conrad Veidt. "Hollow Hills" is pure pagan horror. Everything on this album is completely compelling. My first impression was the correct impression, and my appreciation has only deepened for this epic dichromatic glam classic. Within its universe, I find myself appreciating the fine details, the nuances, the shifting context of then and now. I guess I haven't mellowed—at least not in the important ways. Me and my licensed Mowie Wowie found the experience amazing.

Goth post-punk classic. Killer bass lines, shrieky guitar, driving rhythms and all the weird that Peter Murphy can summon.

the perfect mix of sad dance music, going on my repeat listen list

Goth boiz

I had a really good time listening to this. Bauhaus have always just escaped my listening so I'm glad to have finally sat down and had a crack and this weas really just a great album. What a fantastic voice for all of the spoken word sections as well, gave me chills at times

Chaotic but pleasant. Kinda like clown core but British

Godfathers of Gothic. exceptional album

"In Fear of Fear" was my favorite. This is a little Joy Division and a little Siouxsie Sioux. It was raw, simple, and a great, dark listen. Good stuff.

After sitting through 2 weeks of mediocrity I'm probably rating this higher than I would normally, but it is also some really interesting post punk

9/10 wonderful album from beginning to end I liked this a little bit more than their first album too

Great album to get in October, definitely get spooky vibes. Great album overall.

Fantastic!

Good goth fun.

I love this type of sound, absolute genius

very cool

Kamalt El Hadra 8.M Rbo3 Etheleth M 3l Bouheli Mte3 Dostoevsky.

Is this really goth? More like EDM rock. Somehow enjoyed it. Maybe because Peter Murphy is my homeboy(Ankara:).

Not totally my style but I like freaky kid music.

I don't know what to say except I have a soft spot for this kind of thing - early new wave with hints of punk rock that you can dance to. Joy Division, New Order, Cure, & these guys.

Finally some edge

One of the better Bauhaus albums

I saw these guys live at Cruel World 2022, and it was absolutely incredible. Kick in the Eye is definitely a favorite, and the rest of the album is dark goulish goodness. 4 stars for being godfathers of goth and for a memorable live experience.

Fantastic album. Always worth a re listen.

++: Hair of the Dog, Of Lillies and Remains, Dancing, In Fear of Fear +: The Passion of Lovers, Hollow Hills, Muscle in Plastic, The Man with the X-Ray Eyes, The Mask 7,8/10

Spooky!

Here's a band with uneven records demonstrating that you can have a place in my heart with a few well-crafted songs over the course of a career despite wild fluctuations in quality on their albums.† Favorably we might call that bravery. The high marks, the brilliant moments of Bauhaus are a little further in between on this record, however. Is it my least favorite or second least favorite of their 1980s studio albums? Tough choice. † Though we have to remember to only rate the original release (tracks 1-10) given how much we might side-eye the CD bonus tracks.

I definitely started liking this much more on a second listen. I dont think the second half of the album very good, but The Passion of Lovers, Of Lilies and Remains, and Hillow Hill are very good underground Brit rock. I really enjoy the simple but addictive bass groove in Of Lilies snd Remains. The singing still has some goofy 80s twang to it, but overall, good album.

Very much enjoyed this. One of those bands I always knew I should listen to, but never really did. Feels like a mix of The Clash and The Cure, which is a top notch combo for me. Feels like this will be a grower over time.

I haven't listened to these guys since the 80's but quite enjoyed it.

Tiene mucha onda darketona muy cool, el inicio de muchas cosas que después serían una locura. Buen álbum.

A bit all over the place as a pioneering album should be. Plenty to like here.

Huhhuh mikä pakkaus sävellykset niin bauhaussia ja selvä linjat biiseissä ja koheesiota albumissa, natsaa natsaa

This album is at its best when they embrace the more sincere, dark atmosphere that they do so well. However, there tends to be a bit too much «We are punk and to cool to be sincere»-foolery.

This album didn't quite live up to the high expectations that I had based on their brilliant debut single "Bela Lugosi's Dead", but it grows on you.

### "Mask" by Bauhaus: An In-Depth Review **Album Overview** Released in October 1981, *Mask* is the second studio album by Bauhaus, a band often credited as one of the pioneers of gothic rock. While their debut, *In the Flat Field*, established their raw post-punk aesthetic, *Mask* represents an evolution in sound, production, and thematic complexity. The album blends gothic rock, post-punk, and experimental elements, pushing the boundaries of what could be done within these genres at the time. Let's break down the album in terms of lyrics, music, production, themes, and its influence on the wider music scene. ### Lyrics The lyrics of *Mask* are heavily symbolic, often surreal, and explore themes like existential dread, alienation, and psychological struggle. Peter Murphy's writing is more abstract than literal, which allows multiple interpretations. - **"Hair of the Dog"** explores themes of self-destruction and disillusionment. Lines like “The man who was mortified, you know / They just don't cut it these days” reflect a feeling of societal disconnection and individual angst. - **"Kick in the Eye"** is marked by its ironic playfulness, contrasting its danceable rhythm with lyrics that suggest frustration with superficiality and social facades. Phrases like "Searching for a token that will buy you an illusion" point to themes of consumerism and hollow identities. - **"The Passion of Lovers"** juxtaposes romance with death, as seen in the lines "The passion of lovers is for death," reflecting on love's dark, consuming qualities. It plays on gothic tropes of fatalistic love, but with a twist that makes it feel more personal and sincere. - **"Mask"** delves into identity and the masks people wear to conform. The lyrics “The face I hide takes a new shape” suggest the fluidity of identity and the pressures to conform to societal expectations. Bauhaus's lyrics across the album are characterized by their vivid imagery and metaphors. Murphy often sings in a theatrical style that heightens the dramatic tension of the lyrics. At times, the abstract nature can be seen as a con, potentially alienating listeners who prefer more straightforward storytelling. ### Music Musically, *Mask* is a step forward from *In the Flat Field*, integrating more experimental elements and a broader range of sounds. The band moves beyond the relentless, driving post-punk sound of their debut to explore more diverse textures and moods. - **"Hair of the Dog"** kicks off the album with a thick bassline by David J, overlaid with jagged guitar riffs from Daniel Ash and Peter Murphy’s dramatic vocal delivery. The rhythm section, with Kevin Haskins on drums, provides a tribal beat that gives the song a primal, ritualistic feel. - **"The Passion of Lovers"** balances pop sensibilities with a sinister edge. The song’s jangly guitars and catchy bassline are offset by unsettling lyrics and an eerie melody, creating a juxtaposition that is both alluring and unsettling. - **"Kick in the Eye"** offers a funk-infused rhythm, which was unexpected from a band often associated with a darker sound. The danceable groove contrasts with the haunting vocal delivery, showcasing the band’s willingness to experiment. - **"Of Lillies and Remains"** is an example of Bauhaus's avant-garde approach, featuring an almost spoken-word performance over a disjointed rhythm, with elements of noise and sound effects that create a disorienting atmosphere. - **"Hollow Hills"** is a slow, atmospheric track that relies heavily on reverb-laden guitars and an echoing bassline to create a sense of space and mystery, akin to a gothic soundscape. The band's ability to combine different genres—funk, dub, goth, and even ambient—into a cohesive sound is a notable strength. However, this eclecticism can also be a con, as some tracks may feel disjointed or out of place to listeners expecting a more consistent sound. ### Production The production on *Mask*, handled by the band and engineer Hugh Jones, is a significant advancement over their debut. The album benefits from a clearer, more polished sound, which allows the intricate arrangements and experimental touches to stand out. - The use of **reverb and echo effects** enhances the gothic atmosphere, particularly on tracks like "Hollow Hills" and "Mask," where the spaciousness of the sound is almost a character in itself. - **Layering of instruments** is more sophisticated; for example, in "The Man with the X-Ray Eyes," there is a meticulous balance between the clean, bright guitar tones and the murkier, more distorted sounds, creating a dynamic and engaging listening experience. - The production choices on "Of Lillies and Remains" and "Muscle in Plastic" exhibit a willingness to embrace more avant-garde and industrial textures, using unconventional recording techniques like reversed tapes, abrupt volume shifts, and strange panning effects to disorient and surprise the listener. However, the production does have its drawbacks. Some critics argue that the clearer, more polished sound strips away some of the raw intensity that defined their debut. There are moments where the production feels almost too clean, potentially undermining the visceral impact of certain tracks. ### Themes *Mask* dives deep into the human psyche, exploring themes of identity, alienation, and existential dread. While their debut was more raw and direct, *Mask* is introspective, challenging listeners to confront their own fears and anxieties. - **Identity and Alienation**: The album's title track, "Mask," is a meditation on the different "masks" people wear in their everyday lives. This theme is echoed throughout the album, in songs like "In Fear of Fear," which explores paranoia and self-doubt. - **Existential Angst and Mortality**: "Hollow Hills" delves into themes of death and decay, as does "The Passion of Lovers," but with a more romanticized view of mortality. - **Social Commentary**: "Kick in the Eye" and "Muscle in Plastic" comment on consumerism and the superficial nature of society, questioning the emptiness of material pursuits and societal expectations. While these themes are deep and thought-provoking, the abstract nature of the lyrics and the use of metaphors can sometimes make them less accessible. Some listeners might find the themes overly obscure or pretentious, a potential downside for those seeking more direct emotional engagement. ### Influence and Legacy *Mask* has been a critical album in the development of gothic rock and post-punk. The album’s experimentation with sound, production, and genre fusion has influenced countless bands across different genres. - **Influence on Gothic Rock**: Bauhaus’s blending of theatricality with a dark aesthetic set the template for gothic rock. Bands like The Sisters of Mercy, Fields of the Nephilim, and Christian Death drew heavily from Bauhaus's sound and thematic focus. - **Post-Punk Experimentation**: The eclectic musical style of *Mask*—merging post-punk with funk, dub, and even proto-industrial sounds—paved the way for a more experimental approach within the genre. Bands like The Cure and Siouxsie and the Banshees took cues from Bauhaus’s willingness to step outside genre confines. - **Broader Cultural Impact**: Beyond music, Bauhaus's visual style and thematic content helped to define the aesthetics of goth culture. Their art-school backgrounds and commitment to a multi-sensory experience (combining music, fashion, and visual arts) have inspired artists and performers beyond the confines of rock music. ### Pros and Cons of the Album #### Pros: 1. **Innovative Sound**: *Mask* demonstrates Bauhaus's willingness to explore new sonic territories, blending genres in creative ways. 2. **Thematic Depth**: The album's lyrics are rich with symbolism, offering layers of meaning and interpretation. 3. **Diverse Musical Palette**: The integration of funk, dub, and ambient textures adds complexity and diversity to the album, keeping it dynamic and unpredictable. 4. **Improved Production**: The more polished production quality allows the musical details to stand out, making for a more refined listening experience. 5. **Cultural Influence**: As an essential album in the gothic rock canon, it has influenced countless artists across genres, helping to shape the sound and aesthetic of the 1980s and beyond. #### Cons: 1. **Abstract Lyrics**: The highly symbolic and abstract nature of the lyrics may alienate some listeners, making the songs feel distant or overly complex. 2. **Inconsistent Tone**: The eclectic mix of styles can feel jarring or disjointed, disrupting the album’s flow for some listeners. 3. **Polished Production**: While the production is clearer, it sometimes lacks the raw intensity of the band’s earlier work, which some fans and critics might miss. 4. **Niche Appeal**: The album's dark themes and avant-garde approach may limit its appeal to a broader audience, reinforcing its status as a cult favorite rather than a mainstream success. ### Conclusion *Mask* by Bauhaus stands as a landmark in the development of gothic rock and post-punk, an album that refuses to conform to any single genre or style. Its strengths lie in its experimental approach to music and production, its deep thematic content, and its lasting influence on music and culture. However, its abstract lyrics, inconsistent tone, and polished production may not appeal to all listeners, particularly those looking for a more straightforward or cohesive album. Despite these potential downsides, *Mask* remains a bold and innovative work that continues to resonate with fans and artists alike, nearly four decades after its release.

When this album came up, I was prepared for some weird stuff once again. It's surprisingly good.

Was pretty good. thought they were a German techno type bad but I was very mistaken. 8/10

Enjoyed this a lot more than I expected to, having spent a considerable portion of the 1980s making fun of their "hit" song "Bela Lugosi Is Dead" and goth in general. Now that I'm old and crusty, I have developed a soft spot for goth and am looking forward to checking out Bauhaus and giving them an honest listen.

The list continues its parade of English musical acts. At least I wasn’t completely disappointed by this one. Solid, cohesive album, turns out goth rock is pretty fun. A solid 4/5 from me

8/10

7/10

This was probably the hardest album to rate so far. It was weird and hard to get a grip on, but once it clicked (on second listen) I think I might really love this. I had never heard of Bauhaus before, but now I'm intrigued.

It's at its best when it truly leans into its camp and pomp and weirdness. It's definitely made me want to spend more time with Bauhaus, as I thought it would all be serious gloom, but really it's that and fishcake recipes.

Stark and dark post-punk but still makes some attempts to be palatable and catchy which balances it out well. It has just enough sense of humor to lighten it up a bit without feeling too cheesy for the most part.

You can taste the eyeliner.

tried the fishcake recipe, unpleasant texture & taste, avoid

Maximum ass kicking - just stripped down production, cranked reverb, jamz.

Post-punk, gothic rock. Incredible album. Took me a few songs to get into it but loved it. Best songs: Kick in the Eye Hollow Hills Mask Verging on 4.5

I love Bauhaus. I love how their singer sounds like he's desperately trying to squeeze out the last bit of turd. I love how unhinged, dark and goofy this album is. I love that zonked panda dude on the cover. Still would have preferred their debut (that's THE goth record, come on now, how is it not on this list?), but this shit rocks regardless. Strong 4 outta 5!

This album was very impressive to me. Despite being released in the early 80s it has a very modern sound (like a grittier version of Depeche Mode's Violator). The random dog noises that screech at you twice is a good touch. All in all I'm a fan. 4/5

Not as good as their debut, but still sweetly dissonant.

I like this stuff. Should listen to more gothic stuff from this time. Will I listen to again: 90%

Wow, wow, wow, what a pleasant surprise. I've been getting into Atmospheric Indusrial Goth Noise so maybe it makes sense

This album was exceptional. At times it felt like I was attending a prom for vampires. The album oozes with spookiness and really interesting noises for the time it was released! The second half of the album sort of carried but all in all it’s a fantastic project. 8/10

A lot of fun. Maybe derivative or maybe invented the genre. Idk but I jammed with this one.

I am a long time fan of Bauhaus so it is always nice to give them a listen.

All I really remember of Bauhaus was their Ziggy cover. Hard to rate an album on one listen but it sounds great to these old ears. A wonderful dystopian sound with touches of Joy Division but also hearing Bowie and Iggy and some of the desolation of Tubeway Army. Great recording to with drums to the fore the way I like it. Side 2 is stronger than side 1 and I’ll rate it 4/5 but it could easily become a 5 star with repeated listens.

I‘m not very much into goth music or the culture but it‘s interesting for sure to listen to one of the first albums of that genre. It‘s a diverse mixture of music and surprised me a lot after listening to the first 2-3 tracks. Overall I really liked it!

Four snazzy vampires write some art-rock from their crypt ::enter Bauhaus::. It's so bizarre it's brilliant. It's like very strange, dark, dance music that you hear thumping up from the floor below in your rundown Portland apartment. Goth, glam, funk, experimental, it's somehow embodies all of these. I fully intend to blast this one on Halloween.

What a wild album. What drugs were these guys taking? I really like some of the instrumentals and experimentation. Some cool space sounds with the synths. Whacked out lyrics and creepiness make this album standout. In Fear of Fear is top track. Rating this on the original 1981 release with just the 1st 10 tracks...3.6.