Saturday, July 22, 2023

“Sin” and Survival: Inside Enuff Z’Nuff's Latest Glam Slam



Photo courtesy of www.enuffznuff.com


A phone call with Enuff Z’Nuff co-founder/bassist/vocalist Chip Z’Nuff is perfect for summertime. Why? Because the whole damn thing feels like a rollercoaster.


Like every conversation I’ve had with the dude over the years, I held on tight during our latest chat as the Hard Rock veteran took me on a sprawling journey fueled by the kind of enthusiasm I’d typically expect from a teenager who had just recorded his first garage demo. Thirty-four years after his band’s eponymous debut album delivered “New Thing” and “Fly High Michelle” and put his band on the map, Chip’s still hitting everything he does at 100 miles per hour.


As always, he’s got a lot going on. Currently, Enuff Z’Nuff—Chip, guitarist Tory Stoffregen, drummer Daniel Benjamin Hill, and new guitarist Jason Camino (formerly of Nelson)—is on the road with the second installment of its Glam Slam Metal Tour, which launched in 2022 with Pretty Boy Floyd and The Midnight Devils in tow. This time around, the band is joined by British Rock veterans The Quireboys (for whom Z’Nuff is filling in on bass on this tour) and Boston-based band Bad Marriage, featuring former Tesla guitarist Tommy Skeoch.


With everyone and their mothers on tour these days—and with average ticket prices more expensive than typical monthly car payments—Chip and company are beating the competition by offering an affordable night of solid music. 


“Instead of people paying $100, $200, or $500 for a ticket, they can come out for $30 and see three great bands that have a long legacy of great Rock songs,” he says.




Enuff Z’ Nuff’s current tour follows the November 2022 release of its 17th studio album, Finer Than Sin. Described by Chip as “a potpourri of Rock and Pop,” the 10-song collection is the third Enuff Z’ Nuff record released since the summer of 2020. (Chip, who apparently never sleeps, also released his second solo album, Perfectly Imperfect, in March 2022.) Never one to rest on his laurels, he tells me that the songs on the new album (sans the spirited cover of The Sex Pistols’ “God Save The Queen,” of course) were all written “in five, 10 minutes” at his place in Blue Island, Illinois.


“A lot of songs come to me late at night when it’s quiet and there’s nobody around. I just fiddle around with my old 1962 Danelectro guitar while sitting on the couch and smoking a joint.”


This smoky creative haze yielded another classic release from a band that has never once made a bad album. Check out the album's first single, the outrageously catching "Catastrophe," below.



“[Finer Than Sin] showcases the world through my rose-colored glasses. If you listen to how the lyrics and the songs are put together, it’s basically a synopsis of how I see everything right now […] My inspiration was what’s on the plate for what we’ve got to deal with in society nowadays. I wanted [the album] to be aggressive; I wanted the album to be strong—big guitars, big drums, and fat bass. But most notably, I wanted good storytelling with some nice abstract harmonies and colors.”


“Aggressive” is the best word to describe the album’s most musically left-of-center track, “Lost And Out Of Control.”


“It shows a harder side of the band. The topic of the song is the same way, too. It’s about a guy or a woman who can’t be controlled—a person who lives their life on a shoestring and doesn’t know what to expect next. There’s a reckless abandonment to that song. It might be one of the heaviest ones Enuff Z’ Nuff has ever recorded.”


Chip’s recent music machine also includes a guest appearance on Born To Be Wild, the latest album by singer and film legend Ann-Margret. The bassist duets with her on a cover of Frankie Lymon and the Teenagers’ “Why Do Fools Fall In Love.”


“I got a call from Brian Perera over at Cleopatra Records, who said, ‘We’re doing a record with Ann-Margret.’ I said, ‘Oh, man! I’ve always loved her! She’s such a little Scandinavian goddess—just a wonderful singer and a great dancer.’ He said, ‘Would you like to play bass on it?’ I told him I’d love to. I went down to the studio and played bass on the track. They called me back a couple of weeks later and said, ‘It sounds great. Would you be willing to do a duet with her?’ I said, ‘I’d be honored!’ I wasn’t even sure I could do it, to be honest. But if someone asks you if you could a job, just tell them you’ll do it and then learn it right away and make it happen.”


Other guests on Born To Be Wild include Pete Townsend of The Who, Aerosmith’s Joe Perry, and The Fuzztones.


Not surprisingly, Chip will be keeping busy once the current tour wraps up. Work on a new Enuff Z’Nuff studio album is already underway, and the band plans to release a live album (recorded at LA’s legendary Whisky a Go Go) in the not-too-distant future. Not bad for a band that’s scratching at the door of its 40th anniversary. In an industry not known for inspiring longevity, Enuff Z’Nuff—and its sole remaining original member— won’t be throwing in the towel any time soon.


“It’s a blessing from above to still be able to move forward. We believe in the legacy of Enuff Z’Nuff. We’ve done six records in the last six years, and I still think there’s gas in the tank. At the end of the day, we’re a real Rock ‘n’ Roll band that shows up and kicks ass whenever we play. We don’t know when it’ll end or when the last show’s going to be, so we just want to leave an indelible mark wherever we go.”


More on Enuff Z'Nuff on This Site


Enuff Z'Nuff Tour Dates


Enuff Z'Nuff Website

 



EMAIL JOEL at gaustenbooks@gmail.com


Tuesday, July 11, 2023

Keeping It Surreal: Puscifer Hits the Jersey Shore


"Agent Dick Merkin" of Puscifer


There are few people in this world more incendiary than an artist who’s earned the right not to give a single fuck.


Thirty years ago this month, singer Maynard James Keenan hit the small second stage during Lollapalooza’s stop at Waterloo Village in Stanhope, New Jersey. He appeared as the frontman of Tool, a buzz band out of LA that had released its debut album, Undertow, a few months earlier. Even on an eclectic bill that exposed Cow Country concertgoers to everyone from Front 242 to Arrested Development, the mohawked vocalist truly looked like a visitor from another planet. Anchored by a jaw-dropping sonic backdrop courtesy of bandmates who’d clearly listened to more than a few Prog albums, the man proceeded to slay the crowd with one of the richest, most expressive voices heard that day. To my 16-year-old ears that afternoon, Keenan and Tool sounded like the future of music.

 

As the past three decades have shown, I wasn’t alone in my reaction. Years removed from being a second-stage act, Tool now fills out 20,000-seat arenas in support of chart-topping albums. The band’s extraordinary success has afforded Keenan the opportunity to pursue extracurricular passions both musical (A Perfect Circle) and entrepreneurial (Merkin Vineyards). In 2007, he began releasing music with a side project called Puscifer, a piss-taking experimental mindfuck that allows him the chance to play in a surreal sandbox without the commercial and logistical demands of his main gig. Placing that kind of power in the hands of someone with nothing to prove or lose is like giving a kid the keys to the world’s largest candy store—and anyone who listens to a Puscifer release or ventures into one of the group’s batshit bonkers live shows is in for an experience they won’t soon forget.

 

After a six-year break from overseas touring, Puscifer recently preceded a jaunt through Europe with a handful of U.S. dates. One of these performances, held at the 1,400-seat Sound Waves Theater in the Hard Rock Hotel & Casino in Atlantic City, showcased something more akin to a Broadway show from Mars than a traditional Rock show. With an onstage aesthetic that fell somewhere between GWAR (sans bodily fluids) and the band from the talent show scene in Revenge of the Nerds, the group delivered an evening of pristine musicality augmented by video presentations and a stage set with scaffolding and props galore.




Carina Round and Maynard James Keenan



The night began with a video introduction by one of Keenan’s outrageous Puscifer personas, Agent Dick Merkin, who cheekily warned attendees that anyone caught breaking the band’s notoriously strict no-photo/video policy during the show would be ground up into Spam. (That said, please enjoy the band-sanctioned live shots by Kris Ohmen Photography, taken exclusively for this website, that accompany this review.) 

 

The insanity escalated from there. With stellar vocalist/keyboardist Carina Round aiding greatly in the theatrics department, Keenan (who, in addition to Agent Dick Merkin, also appeared as the redneck-y Billy D) and the rest of the Puscifer circus amazed and amused the crowd. Their two-hour selection of songs leaned heavily on 2020’s Existential Reckoning with a few moments from past releases (including a mind-blowing “The Remedy” off 2015’s Money Shot) added in for good measure. Puscifer foreshadowed different album eras represented in the set via pre-recorded vignettes that were worth the price of admission alone. (At one point, Agent Merkin revealed that Plasmatics frontwoman Wendy O. Williams—who, as it turns out, never actually died—lives on in the body of… Tool frontman Maynard James Keenan, because of course she does.)






After whiplashing the audience with aural and visual absurdity, Puscifer wrapped up its Atlantic City stop with the Existential Reckoning number “Bedlamite,” which perfectly summarized the evening’s glorious escapist entertainment through the repeated chorus of “It's gonna be all right/Everything will be all right." For two hours on a Friday night at the Jersey Shore, everything really was all right.


Thank you, Maynard—er, I mean Agent Merkin!



Emily Kavanaugh of Night Club



Electronic duo Night Club opened the festivities with a brief set of well-received Goth-tinged Dance Rock. Full marks to frontwoman Emily Kavanaugh, daughter of late Southside Johnny and the Asbury Jukes keyboardist Kevin Kavanaugh, whose high-energy command of the stage did her home state proud.


Official Puscifer Website




EMAIL JOEL at gaustenbooks@gmail.com


Saturday, July 8, 2023

Interview with FRED SCHRECK of THE ANCIENTS


I'm pleased to share my video interview with one of my favorite singers, Fred Schreck (The Ancients/Crush/The Billygoats/Satellite Paradiso). We discuss a host of topics, including the July 17, 2023, digital re-release of The Ancients’ 1991 debut album—an underground classic that features guest appearances by Paul Ferguson (Killing Joke/Crush), Joe McGinty (Psychedelic Furs/Loser’s Lounge), Knox Chandler (Psychedelic Furs/Siouxsie and the Banshees), and John Valentine Carruthers (Siouxsie and the Banshees/Clock DVA/Crush). Later in the conversation, we're joined by current Ancients drummer Frank Coleman (Bentmen/Satellite Paradiso/Secret Agent).


 





 

EMAIL JOEL at gaustenbooks@gmail.com


Monday, April 24, 2023

Music, Movement and Mayhem: Roger Ebner Stays Dangerous


Roger Ebner performing with Bile, April 2023. Photo by Danesh Kothari


One would say that I’m busy.”


Although Chicago-based saxophonist and multi-instrumentalist Roger Ebner followed this statement with a chuckle, his many musical projects perpetually unfolding in recording studios and on stages are no joke. Endorsed by Sax Dakota and best known as a saxophonist for the Industrial Rock supergroup Pigface since 2016, he has “been all over the map” with a long list of recordings and collaborations since first starting his sonic journey more than 50 years ago.

Ebner’s lengthy and diverse discography includes albums with his projects Yeti Rain, Snarling Adjective Convention and Ebner/Kopecky/Walkner/Blake. Under the tutelage of mentor and fellow multi-instrumentalist Tim Price (RIP), he has built a reputation for aural eclecticism by constantly seeking new ways to expand his musical vocabulary.

“It’s in my nature to improvise and compose with like-minded, accomplished musicians. Throwing myself into working with different people in as many intersected networks as possible drives me to continuously raise the bar.”

After suffering from a mysterious physical ailment that robbed him of his ability to play music for several years, he was finally diagnosed with Parkinson’s Disease in 2010. After a few months of proper medication and therapy, he regained his ability to play saxophone. This led him to create Music for Movement, an entity founded to raise awareness and funding for Parkinson’s research.

Ebner’s efforts to foster interest in Music for Movement soon led him to cross paths with Pigface bandleader and noted music industry educator/speaker Martin Atkins, who drafted him to play sax for the group’s two 25th anniversary shows in Chicago in November 2016. The gigs marked Ebner’s first time on stage since his Parkinson’s diagnosis. Unsurprisingly, Pigface’s freewheeling nature provided the perfect avenue for Ebner’s improvisational spirit.

“You have to keep your eyes and ears open; when you go on stage, you just go. You can’t get locked into any one way of thinking about how to approach the music.”

Ebner’s Pigface debut was the catalyst for a slew of ongoing friendships and projects with fellow participants. These include Ebner Hunt and Friends (with percussionist Jesse Hunt) and Mike Reidy’s Industrial band W.O.R.M, of which he’s now a consistent member. He also performed at two highly significant dates on Pigface’s 2019 tour: The group’s show in his hometown of Kansas City and its homecoming show in Chicago. The latter is chronicled on the double live album from the tour that was released by Atkins’ Invisible Records in late 2020.

Ebner worked with DogTablet, a project featuring Pigface’s Martin King (Test Dept), on its release Pearldrop Blue. He also appeared on Pigface member/My Life with the Thrill Kill Kult singer Franke “Groovie Mann” Nardiello’s Darling Kandie release Nu Age Depression. The first single from Bitter Elixir, Ebner’s duo project with guitarist Krztoff (Pigface/Bile), was released in April 2021. Ebner also worked with Krztoff on the May 2021 Bile release Sharks and Covid, Vol. 1 and served as a frequent contributor to the Arinova Rhythm Collective (ARC), the creative community he co-founded with Chicago musicians Chrys Anthem-Wozniak (RIP) and Vessy Mink in 2018. The union resulted in dozens of released tracks with a host of
collaborators ranging from Pigface’s Dirk Flanigan to Landmarks Live in Concert (PBS) producer Peter Bowers.

Other collaborators in recent years include the Chicago-based groups Modiviccan and Machines with Human Skin and New York singer Sapphira Vee. All told, Ebner participated in a staggering 20 musical projects in 2021 alone. While some musicians consider dollar signs when determining work, Ebner instead follows his primal instincts.

“If I’m listening to the song, I’ve got to be able to hear how I can add the saxophone or whatever I do in a way that is going to enhance that song. It’s kind of a gut feeling; it’s not really a measurable criterion. The song itself has to have legs. Complexity is sometimes a motivator, but not always – Rock in general is not always complex. Sometimes, a song is deceivingly complex and seems so simple at first until you get in there and try to play against the chord changes the composer came up with. The most important thing with determining whether or not I’m going to be able to get – or start out with being – comfortable with working on a particular piece of music is the rhythm. If it grabs me, I’m in immediately; I don’t even think about it.”

Ebner has grown particularly fond of his prolific creative relationship with the Brooklyn-based Krztoff.

“Working with him has made me a better player. Brooklyn is an abrasive, intense environment. To an outsider who’s not used to the culture, it seems like everyone’s walking around with a chip on their shoulder. Krztoff is classic New York. I think we get along so well together because he’ll bust my balls and I’ll just dish it right back to him!”

Ebner is featured heavily on Bile’s August 2022 album, Pot Farmer, Vol. 2. His favorite appearance on the release, “Sugar (Where We’re Going),” was spurred on by Krztoff encouraging him to listen to Raphael Ravenscroft’s playing on “The Gunner’s Dream” off Pink Floyd’s The Final Cut for inspiration. The end result is one of the most emotional performances of Ebner’s career.

“I can listen to it over and over again and not get tired – or overly critical – of it.”

On February 24, 2023 – the first anniversary of Russia’s military invasion into Ukraine – Ebner released the single “Blue In Yellow” with the Roger Ebner Band. An evocative self-produced instrumental piece, the song was released as a humanitarian aid effort to raise funds for the Ukrainian charity Razom For Ukraine. In addition to featuring mastering/supplemental production by Krztoff, the track boasts percussion by Dan Milligan of The Joy Thieves.

Of course, there’s always a lot more going on in Ebner’s world of music than any biography could hope to track.

“I think the most exciting stuff is still on the horizon. It’s important to never really have the feeling that you’ve ‘arrived.’ There’s always another step; there’s always the search for another melody. The more you do the work, the more you understand that the work is never done.”



EMAIL JOEL at gaustenbooks@gmail.com


Wednesday, March 29, 2023

Immoral Melodies: Curse Mackey Shines Solo




I hate everything that is not myself!”

 

When Curse Mackey snarled his way through the above lyric as the frontman of incendiary Texas-based sonic miscreants Evil Mothers, he added his voice to the then-burgeoning American Industrial music scene. Nine Inch Nails and Marilyn Manson may have grabbed bigger headlines at the time, but Evil Mothers (especially on its classic, Lee Popa-produced 1992 album, Crossdresser) did the glitz-meets-grime shtick way better. Mackey’s done a helluva lot since those days, including a long-running stint as a raft-riding vocalist for the infamous Pigface and spells with Grim Faeries and My Life With The Thrill Kill Kult. Interestingly, he’s also pursued a decidedly less abrasive path as a solo act in recent years.

 

Released last fall, Mackey’s exceptional Immoral Emporium finds him exploring softer—but by no means less intense—sounds that represent an artist as interested in melody as he is in mayhem. Shades of The Reptile House-era Sisters of Mercy, the heavier side of Depeche Mode and the calmer side of Ohgr run throughout the 10-song collection, adding up to a listening experience that prompts more visions of John Hughes films than it does of, say, Dee Snider’s Strangeland flick. This is classic Goth-tinged Dark Pop that puts Curse’s songwriting talents in a well-earned spotlight—and demonstrates that he’s as strong on his own as he is alongside 20 or so other maniacs on a typical tour with a certain Chicago band that pulls him into its maelstrom every few years.  


Simply put, Immoral Emporium is easily one of the finest albums released by a Pigface contributor in decades. Highly recommended.


Curse Mackey performs this Saturday at the Dark Force Fest in Parsippany, NJ. Tickets are still available.


Official Curse Mackey Website



EMAIL JOEL at gaustenbooks@gmail.com


Sunday, March 26, 2023

Shonen Knife’s Happy Place: Naoko Yamano Brings the Cheer

 

Photo courtesy of Reybee, Inc. 

In November 2016—just as Americans began embracing (or, depending on your sensibilities, rejecting) the idea of a Trump presidency—long-running Japanese Punk/Pop legends Shonen Knife hit the stage at the Middle East in Cambridge, MA to deliver the audience from the heaviness of recent times. Now, in 2023, the band’s new album, Our Best Place, is here to relieve our years of pent-up COVID-era fears and frustrations by giving us a much-needed great time.


"People might not be comfortable when hearing other people’s complaints,” singer/guitarist Naoko Yamano observed during our recent conversation. “Music should be a thing that can make people happy."


Released last month on Good Charamel Records (the label founded by Goo Goo Dolls bassist/vocalist Robby Takac), Our Best Place continues the Shonen Knife tradition of insanely catchy tunes that aim to make the world a happier place. Rather than beat the listener over the head with didactic politicizing, the ladies treat us to songs about food (“Spicy Veggie Curry,” “Vamos Taquitos,” “The Story of Baumkuchen"), lovely weather (“Nice Day”), and life’s simple pleasures (“Afternoon Tea”). With “Afternoon Tea” being this writer’s favorite track on the album, I had to ask Naoko for some insight into its creation. Naturally, her response was as simple and to the point as her cheery songwriting.

 

“I listen to various music. ‘Afternoon Tea’ may be inspired by British Mersey Beat. I don’t have any scheme; melody lines just appear.”




Our Best Place features the talents of Naoko’s younger sister, Atsuko, who returned to the band in 2016 after a 10-year break. Now on bass duties after serving as the group’s drummer for several years, Atsuko continues to have a considerable impact on the Shonen Knife sound

 

“Her bass lines are getting excellent!” Naoko shares. “Her favorite music is similar to mine, so it’s easy. Without any explanation, she plays well.”


Although Shonen Knife has been a staple in its homeland for nearly 42 years now, the band’s biggest exposure in the United State came in the early ’90s. Already a favorite among adventurous stateside music fans (including the band Redd Kross, which released a song named after them in 1990), Shonen Knife gained near-mainstream success in America via two major label albums (1992’s classic Let’s Knife and 1993’s Rock Animals) and an unforgettable video for the track “Riding on the Rocket.” The ladies even delivered the infamous “Fuck it Up, Pigface!” chant on Pigface’s 1994 album, Notes from thee Underground. Still going after four decades, Naoko remains as enthusiastic to be in the band as she was way back in 1981.


“Being Shonen Knife is very natural, and I don’t have any conscious that so many years have passed. I’m always fresh.”



Shonen Knife, 1982


With 40-plus years behind them, Naoko and the rest of Shonen Knife look to the future with the same smiles and innocent charm they brought to their first release (Minna Tanoshiku, pictured above) in 1982. What is the one thing she feels the band has yet to accomplish after all this time?


“Touring with our private jet!”


Official Shonen Knife Website 



EMAIL JOEL at gaustenbooks@gmail.com


Friday, March 3, 2023

Bauhaus’ Last (Last) Waltz: Inside the Overlooked “Go Away White”





Typically, a legendary band’s first studio album in 25 years would be the cause of considerable fanfare, but that wasn’t the case with Bauhaus’ Go Away White.


Recorded in 2006 and released 15 years ago today, Bauhaus’ fifth (and supposedly final) album came and went without a tour or even an interview schedule to usher in its release. What should have been a triumphant sonic comeback was treated by its creators as a mere afterthought, as Bauhaus – singer Peter Murphy, guitarist Daniel Ash, bassist David J and drummer Kevin Haskins – had once again disbanded long before the sound of the T. Rex-y opening track, “Too Much 21st Century,” even met listeners’ ears for the first time.


Go Away White’s doomed release was an example of history repeating itself. Bauhaus’ other final album, 1983’s appropriately named Burning From The Inside, represented a splintered group inching towards the finish line with each passing note.


“The first two weeks we were in the studio [recording that album], the original idea was for us three to go in there and put some backing tracks down, because Pete got double pneumonia,” Ash recalled in a 2017 feature on this website. “The chemistry was completely different. We were originally just going to put backing tracks down, and then a couple of the tracks turned into fully finished ones – ‘Who Killed Mr. Moonlight?’ and ‘Slice Of Life.’ That was the beginning of the end for Bauhaus, because the chemistry had changed… I think it had started to fracture the whole Bauhaus thing. It was getting to that stage where it had gone as far as it was going to go.”


After a brief stint with bassist Glenn Campling as Tones on Tail, Ash and Haskins rejoined J to form Alternative powerhouse Love And Rockets, while Murphy embarked on an iconic solo career. Bauhaus rose from the dead in 1998 for a highly successful reunion tour and again reformed in 2005 for an extraordinary performance at the Coachella Festival in Indio, CA. (As Murphy shouted at the end of the set-closing “Dark Entries:” “You can say now that you were there!” I was and I have!)


The rousing success of the Coachella gig was followed by touring in 2005 and 2006. The band then entered the studio – without a single note of music written but with plenty of the old personality conflicts that fueled its initial breakup 23 years earlier.


“We went in with hardly any material – just some lyrics,” J remembered in a conversation with this writer last August. “It was kind of made up on the spot. There’s something very exciting about doing that – and something very immediate. We pulled something out of the hat there! Because it was done just prior to going out on the road – after coming off touring and going back out again – we didn’t have time to really contemplate it; we just did it. The idea was that we would do rough mixes and we would go back and mix it properly after the touring, but it became so fractious on the road that the idea of us being in a small room together was … (laughs).”


Considering the state of affairs within Bauhaus at the time (detailed at length in J’s must-read 2014 autobiography, Who Killed Mr. Moonlight? Bauhaus, Black Magick and Benediction), it’s a good thing that the band ultimately elected to release the rough mixes as they were – a decision initially made during its 2006 tour with Nine Inch Nails.


“Trent [Reznor] heard that we had recorded an album,” J explains. “We said, ‘Yeah, we have, but it’s just a rough mix.’ He said, ‘Can I hear it?’ On one plane flight, he listened to the whole album. He was waiting for us when he got off – he wasn’t in first class; he was in with the goats and chickens along with the rest of us! – but he was waiting there, and he was so enthused. He said, ‘I love this record! Guys, I don’t think you should go back in. There’s something really special about this; it sounds really vital and urgent; I think you should put it out like this.’ It gave us pause, and that’s exactly what we ended up doing. It was a relief, because we just thought, ‘Now we don’t have to go back into a studio together!’”

 

Going with the rough mixes was indeed the right move. Free from overthinking or overproducing, Go Away White is an energized, organic journey that showcases a freewheeling spirit and cheekiness common among bands just starting out in their smelly garages. The material is largely loose and, in some cases, decidedly unbaked: Gleeful whistling runs through entire sections of “Black Stone Heart” in lieu of actual lyrics, while in-studio conversations between the musicians – particularly on “Mirror Remains” – were left on the recording.

 

“[“Mirror Remans”] is one moment that I really love,” J says. “We were all playing together, and Peter says to Daniel, “Daniel, some kind of guitar solo here!’ And Daniel’s playing like a two-note thing and goes, very laconically, ‘This is the solo.’ And that is the solo! Peter goes, ‘Um, yeah! Alright. Great. Cool.’”

 

Of course, Go Away White was also a very serious listen in places. “Endless Summer Of The Damned,” “Adrenalin,” Saved” and the gloriously gloomy album closer “Zikir” were unmistakably Bauhaus, while the adventurousness of the aforementioned “Black Stone Heart” hinted at interesting things to come from the veteran act. Sadly, it wasn’t meant to be. With even diehard fans often unaware of the album’s existence, Go Away White is destined to wallow in obscurity – which seems to suit Ash just fine.


“I don’t ever listen to that album,” he revealed to me in 2017. “I personally have got bad memories of when it was recorded. We were in the studio for a grand total of three weeks; we wrote, recorded, produced and mixed everything in three weeks. I have to say the atmosphere was not good in the studio. We sort of all dissipated after those three weeks. I can’t comment on that album; I can’t listen to it. I’ve just got bad memories of making of it…I don’t know what the public perception is of that record; I just keep having to keep away from it. It’s all the way in the back on my mind. I don’t ever think about that record.”


Haskins was slightly more complimentary towards Bauhaus’ apparent swan song when he spoke with me about it six years ago.


“For some reason, just last week, I don’t know what I was doing, but I did listen to a couple of tracks,” he shared. “Maybe it was just in my car and they came on; I’m not sure – it was very random. I seriously haven’t listened to it in years, so I can listen to it more objectively [now]. It kind of surprised me; it didn’t really feel like, ‘This is a Bauhaus song,’ but it was good. It’s difficult to critique your own work. When we finished it, it didn’t really feel in a general sense like Bauhaus or the image of Bauhaus I have in my head. I think it holds up, but it sounds like a bit of a different band to me […] Although the early work had a certain kind of eclectic nature to each record, it has a strong identity. I think Go Away White has a strong identity, but it has a different one.”


My personal copy of Go Away White - colored in by Peter Murphy himself

Bauhaus reconvened as a live act in 2019. Three years later, the band issued a new song, the brilliantly oddball “Drink The New Wine,” that was recorded by all four members separately during the COVID-19 lockdown. The group maintained an active touring schedule until it suddenly announced in August 2022 that it had canceled its remaining dates for the year and that Murphy had entered rehab. Two months ago, it was announced that a reformed Love And Rockets would perform at the Cruel World Festival in Pasadena, CA this May.


The more things change, the more they stay the same.


(To be clear, Murphy’s absence from this feature was a matter of logistics, not politics. I have made several attempts to interview him over the years. Despite coming very close on a couple of occasions, my efforts were ultimately thwarted by conflicting schedules and (more than once) the man’s health and personal matters at the time. That said, he was as friendly and approachable as the rest of the lot when our paths crossed in Boston 10 years ago, and my door is always open to him. Until our next encounter takes place, I wish him the very best.)


Thirty years after Murphy first split with the trio that would become Love And Rockets, fans are again left to wonder if Bauhaus will roar again or if its narrative will ultimately end with a whimper. No matter what, Go Away White stands as a powerful – if unjustly overlooked – addition to a bulletproof discography.


“Listening back to it now, Trent was right,” J says. “It sounds really good!”




EMAIL JOEL at gaustenbooks@gmail.com