Editing Bauhaus (band) (section)

==History==
[[File:Bauhaus-Signet.svg|thumb|right|The emblem of the German [[art school]] [[Bauhaus]], designed by [[Oskar Schlemmer]] in 1922: it was reused by the members of Bauhaus in the 1980s for promoting their music via posters and record sleeves]]{{Over-quotation|section=section|date=October 2024}}
Daniel Ash, his friend David J. Haskins and Haskins' younger brother Kevin had played together in various bands since childhood such as Jam and Jackplug & the Sockets, playing cover songs by the [[Rolling Stones]] and [[the Beatles]].{{sfn|Shirley|1994|p=18}} Ash initially tried unsuccessfully to convince his school friend Peter Murphy to join him in a band. According to Ash: "Pete didn't think about it at all, it wasn't on his mind as such."{{sfn|Shirley|1994|p=17}} Ash's band the Craze performed several times around [[Northampton]] in 1978. When the Craze dissolved, Ash once again tried to convince Murphy to join him, simply because Ash thought that Murphy had the right look for a band.{{sfn|Shirley|1994|p=18}} Murphy, who was working in a printing factory, agreed to try it, although he had never written any lyrics or music. During their first rehearsal, he co-wrote the song "In the Flat Field".{{sfn|Shirley|1994|p=52}}

Ash's old bandmate Kevin Haskins joined as the drummer. Ash intentionally avoided inviting David J, the driving force in their previous bands, because he wanted a band that he could control.{{sfn|Shirley|1994|p=19}} Instead, Chris Barber was recruited 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 of 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 line-up complete, the band played their first gig at the Cromwell pub (since demolished) in [[Wellingborough]] on New Year's Eve 1978.{{sfn|Shirley|1994|p=20}}

The band had chosen the name ''Bauhaus 1919'', a reference to the German [[Bauhaus]] art movement of the 1920s,<ref>{{Cite magazine|url=https://www.rollingstone.com/music/artists/bauhaus/biography|title=Bauhaus Biography|magazine=Rolling Stone|access-date=28 February 2018|archive-url=https://web.archive.org/web/20180113093010/https://www.rollingstone.com/music/artists/bauhaus/biography|archive-date=13 January 2018|url-status=dead}}</ref> because of its "stylistic implications and associations", according to David J.{{sfn|Shirley|1994|p=21}} The band also chose the same [[typeface]] used on the [[Bauhaus Dessau|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 whom played predominantly [[cover songs]].{{sfn|Shirley|1994|p=22}} 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 did not have home-video equipment, so the group opted to record a demo.{{sfn|Shirley|1994|pp=23–24}}

==="Bela Lugosi's Dead" and 4AD===
===="Bela Lugosi's Dead"====
{{quote box
| quote = "We'd been talking about the erotic quality of [[vampire movie]]s, even if they were the [[Hammer horror]] type. There was this conversation about the sexuality and eroticism of [[Dracula]]. Danny talked about his fascination with this and the occult connotations. So, we carried on that conversation and made it into a song."
| source = —[[Peter Murphy (musician)|Peter Murphy]], on the origins of "[[Bela Lugosi's Dead]]"{{sfn|Shirley|1994|pp=26–27}} 
| width = 30em
}}
After only six weeks as a band, Bauhaus entered the studio for the first time, meeting at Beck Studios in [[Wellingborough]] to record a demo.{{sfn|Shirley|1994|pp=25–26}} In rehearsal, the band experimented with echo and delay effects on the drums. The first of five tracks recorded during the session, "[[Bela Lugosi's Dead]]", exceeded nine minutes in length but was released as the group's debut single in August 1979 on [[Small Wonder Records]].<ref>{{Cite web|url=https://www.theguardian.com/music/2011/jun/14/bauhaus-invent-goth|title=Bauhaus invent goth|last=Petridis|first=Alexis|date=13 June 2011|website=[[The Guardian]] |access-date=28 February 2018|archive-url=https://web.archive.org/web/20180228071259/https://www.theguardian.com/music/2011/jun/14/bauhaus-invent-goth|archive-date=28 February 2018|url-status=live}}</ref> The band was listed simply as Bauhaus, with the "1919" abandoned.{{sfn|Shirley|1994|pp=28–29}}{{sfn|Thompson|2002|p=59}}

"Bela Lugosi's Dead" was strongly influenced by the band's interest in [[reggae]] and [[Dub music|dub]], styles in which the bass and the drums play prominent roles. The recording was completed on the first take. It was also the first time that Murphy had sung into a studio microphone,<ref name="Uncut" /> although he was sick with a cold when he recorded the song.<ref name="Uncut" /> Kevin Haskins' drumbeat was based on a [[bossa nova]] style.<ref name="Uncut">{{cite web |author1=Rob Hughes |title=Bauhaus on 'Bela Lugosi's Dead': "It was the 'Stairway To Heaven' of the 1980s" |url=https://www.uncut.co.uk/features/bauhaus-on-bela-lugosis-dead-it-was-the-stairway-to-heaven-of-the-1980s-123408/ |website=Uncut |publisher=NME Networks |access-date=10 February 2022 |date=February 28, 2020}}</ref> Daniel Ash explained the inception of the song: "I was talking to David (J, bass) on the blower one night and told him I had this riff, using these trick chords that had a very haunting quality to it. He went: 'It's so weird you should say that because I've got these lyrics about [[Bela Lugosi]], the actor who played a vampire.{{' "}} David J further elaborated: "There was a season of old horror films on radio, and I was telling Daniel about how much I loved them. The one that had been on the night before was Dracula [1931]. I was saying how Bela Lugosi was the quintessential [[Dracula]], the elegant depiction of the character." Ash elaborated about the chords: "My riff has these mutant chords – they're not even minor chords – but it's rooted in an old [[Gary Glitter]] song, slowed right down. I didn't realize that when I was doing it."<ref name="Uncut" /> Ash also explained how he was able to achieve the echo effects for the song: "...David had this old HH echo unit, which would crap out on you all the time. We hooked up the guitar and snare drum to this echo unit and I was just sliding the HH amp thing to trigger all these echoes as the song went through."<ref name="Uncut" /> David J explained the song's recording process: "We didn't really talk about what we were doing. Daniel started scratching away on the guitar, Kevin started his rhythm and there was this atmosphere building. I came in with those descending chords and Peter was just prowling up and down, slowly, like a big cat."<ref name="Uncut" />
 
Murphy explained: "We'd been talking about the erotic quality of [[vampire movie]]s, even if they were the [[Hammer horror]] type. There was this conversation about the sexuality and eroticism of Dracula. Danny talked about his fascination with this and the occult connotations. So, we carried on that conversation and made it into a song."{{sfn|Shirley|1994|pp=26–27}} Murphy also elaborated: "There's an erotic, alluring element to the vampire. We didn't want to write an ode to Bela Lugosi, ostensibly. The kitsch element was his name because he was the biggest icon, yet he was the most unlikely vampire-looking person. So there was that Brit angle to it, but it wasn't at all negative. It was perfect. The idea of Bela Lugosi being dead or undead is classic."<ref name="Uncut" /> The band was initially nervous about the song's excessive length, as it had caused several record labels to decline to issue the single. Haskins explained: "Danny took an acetate around all the big companies–[[Virgin Records|Virgin]], [[EMI]] and the rest–and they all said similar things: 'This is the sort of thing I listen to at home, but it's not commercial.' Or: 'It's way too long. Can you edit it down to three minutes?' Even [[Beggars Banquet Records|Beggars Banquet]] turned us down, which is ironic because we ended up on that label." However, Peter Stennet of [[Small Wonder Records]] agreed to release the single, favorably comparing it to the [[Velvet Underground]]'s single "[[Sister Ray]]".{{sfn|Shirley|1994|p=29}}

The single received a positive review in ''[[Sounds (magazine)|Sounds]]'' and stayed on the [[UK Independent Singles and Albums Charts|British independent charts]] for two years. It received crucial airplay on [[BBC Radio 1]] and DJ [[John Peel]]'s evening show. The band recorded a session for Peel's show, which was broadcast on 3 January 1980.{{sfn|Shirley|1994|p=30}} Murphy recalled the session: "We walked up to reception, passing [[Motörhead]] on their way out, and said, 'Hello, we're Bauhaus and we're friends of John Peel. We'd like to go up please.' Somehow, we were allowed up there and we put the record in front of him. After we'd all introduced ourselves, he said on air, 'We've got Bauhaus in the studio, they're from Northampton and they have a new single out called 'Bela Lugosi's Dead'. It's nine and a half minutes long and this will probably be the first and last time I'll play this.' Then we left and went down to listen to it in the car. Apparently, the BBC switchboard was jammed with listeners wanting him to play it again."<ref name="Uncut" /> Of the additional tracks, ''[[Classic Rock (magazine)|Classic Rock]]'' wrote that, "The rest of the material finds a band fumbling for direction, even touching on [[ska]]."<ref>{{cite magazine |date= December 2018 |title=The Bela Session |magazine=[[Classic Rock Magazine]] |page=93}}</ref>

====''In the Flat Field''====
Despite the success of their signature song, the band left Small Wonder Records because of its lack of support for touring stemming from budget issues. Stennet stated: "The trouble is we just can't afford to send the bands on tour or anything like that, and a group needs that sort of support."{{sfn|Shirley|1994|p=36}} Signing with the [[4AD]] label, Bauhaus 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. The album's cover image, selected by David J, is a photograph titled ''Homage to Purvis de Chavannes'' by [[Duane Michals]], an image of a naked man blowing a horn instrument.{{sfn|Shirley|1994|p=44}} ''[[NME]]'' reviewer Andy Gill described it as "Gothick-Romantick pseudo-decadence" and dismissed the band as "a hip [[Black Sabbath]]".<ref>{{cite journal |last=Gill |first=Andy |date=8 November 1980 |title=Gothick As a Brick |journal=[[NME]] |page=32}}</ref> Despite negative reviews, ''In the Flat Field'' topped the indie charts and spent one week at No. 72 on the [[UK Albums Chart]].{{sfn|Shirley|1994|p=46}} Although the band was satisfied with the album, they later admitted that it had failed to capture everything that they had wanted{{sfn|Shirley|1994|p=44}} and that its intensity level was too high, but it was "the purest statement of what [we] were like then".{{sfn|Shirley|1994|p=63}} 
 
In August 1980, the band traveled to [[North America]] to play four dates in cities such as [[Toronto]], [[Chicago]] and [[New York City|New York]].{{sfn|Shirley|1994|p=49}} One of Bauhaus' first US shows was in a venue called Space Place in Chicago, [[Illinois]] in September 1980, booked by Jim Nash and Dannie Flesher, the owners of the independent record label [[Wax Trax! Records]].<ref>{{cite web |first=Kelsey |last=Chapstick |title=Ministry to NIN: 10 Things We Learned From Wax Trax! Doc 'Industrial Accident' |url=https://www.revolvermag.com/music/ministry-nin-10-things-we-learned-wax-trax-doc-industrial-accident#4-wax-trax-introduced-america-front-242-and-bauhaus |website=Revolver |publisher=Project M Group LLC. |access-date=14 November 2020 |date=12 April 2019}}</ref><ref>{{cite web |title=Bauhaus Concert Guide |url=http://www.bauhausgigguide.info/gig.php?gid=106 |access-date=14 November 2020}}</ref> The band returned to England in October 1980 for a 20-date tour in England and in Europe to promote their first album.{{sfn|Shirley|1994|p=50}} In December 1980, Bauhaus released a cover version of "[[Telegram Sam]]", originally a hit by [[glam rock|glam-rock]] pioneers [[T. Rex (band)|T. Rex]], as a single.

===Beggars Banquet and breakup===
====''Mask''====
Bauhaus' growing success outstripped 4AD's resources, so the band moved to 4AD's parent label, [[Beggars Banquet Records]].{{sfn|Shirley|1994|p=56}} Bauhaus released "[[Kick in the Eye]]" in March 1981 as its debut release on the label. The single reached No. 59 on the charts.{{sfn|Shirley|1994|p=57}} The following single, "[[The Passion of Lovers]]", peaked at No. 56 in July 1981.{{sfn|Shirley|1994|p=60}} Murphy said, "One of our loves is to make each single totally different from the last, not to be tied down by a style or sound."{{sfn|Shirley|1994|p=57}} Bauhaus released their second album, ''[[Mask (Bauhaus album)|Mask]]'', in October 1981. The band employed more keyboards, and a variety of other instruments, to add to the diversity of the record. The front and back cover of the album was an impressionistic drawing created by Ash. In an unconventional move, the group shot a video for the album's title track as a promotional tool for the band, rather than any specific song from the record, filmed in a hazardous and abandoned Victorian shoe factory in Northampton.{{sfn|Shirley|1994|pp=63–64}} David J explained the techniques, effects and his reaction regarding the content of the title track: "I can still recall with crystal clarity overdubbing the echoed bass part and using a metal bottleneck to achieve the cascade effect that comes in at the point where Daniel's acoustic twelve-string part starts. Hearing these sounds in ultra-sharp coke-intensified focus through headphones produced an ecstatic heart-bursting emotion on the edge of orgasmic release."<ref name="Mister Moonlight" /> The film crew consists of Chris Collins and Ken Lawrence of Standard Pictures. The video was made with a minuscule budget; the gear used in the video were powered off car batteries and roll film, and filmed in a hazardous and abandoned Victorian shoe factory in Northampton, which was just across the road from the main police station. David J explains how the band and film crew broke into the building to make the video: "We snuck into this place about three in the morning and the lights kept going down at crucial moments so we'd have to wait and sit around in complete darkness...the place was dripping wet although it all added to the atmosphere."{{sfn|Shirley|1994|pp=65}} The video's imagery and lighting borrowed heavily from [[German Expressionism]]. David J commented on the content of the music video: "We improvised around the loose idea of a ritualistic resurrection, with Peter lain out like a corpse on a wooden slab. Each of us would administer some kind of shamanistic voodoo to assist in the raising of the dead. The place was freezing cold, dank, and dripping with filthy water. The lights kept going out, and we would be plunged into complete darkness until they were restored."<ref name="Mister Moonlight" /> When the scenes of the factory were finished, the group went to another location for filming. David J explained: "Once we had filmed the scenes in the factory, we set off for a second location: the woods on the grounds of the [[Spencer family]]'s country estate – another illegal situation, and a potential threat to the monarchy. We did have fun that night! The finished film looked great: a fog-cloaked atmospheric drama that was redolent of a German Expressionist silent horror flick." David J also mentioned that the music video was more of an art piece than a traditional music video and commented that Chris Collins "did a brilliant job of capturing the visual essence of the band."<ref name="Mister Moonlight" /> Chris Collins commented on the motive of the video: "Foremost in our minds was to make something interesting, so somebody who'd never heard of Bauhaus before and suddenly saw that video might say, "God, that's really interesting, I want to know more about that".{{sfn|Shirley|1994|p=66}} Ken Lawrence also explained the film's intention: "Every film about a band should show the strengths of that artist. So of course "Mask" is a promo because hopefully, it's what Bauhaus are about. If you listen to their lyrics at all, if you know the way their music is structured – it's thought provoking, it evokes mood and it's very atmospheric music and that was our approach to making the film."{{sfn|Shirley|1994|p=66}} It made only one appearance on British TV.

Around the same time, "In keeping with our surrealist leaning...", the band also employed the "exquisite corpse" technique to an experimental film they made called "Consequences", where each member was given an amount of time to film whatever they wished.<ref name="Mister Moonlight" /> It was shown on tour in place of a support band.<ref name="Mister Moonlight" /> The band toured broadly to promote the album by playing a 16-date tour of England and 13 dates in Europe.

===="Spirit" and ''The Sky's Gone Out''====

In July 1982, Bauhaus released the single "[[Spirit (Bauhaus song)|Spirit]]", produced by [[Hugh Jones (producer)|Hugh Jones]]. This was unusual for the band because they typically produced their own music. Conflicts and compromises subsequently occurred in the studio. David J explained: "It took ages and ages. Usually we recorded very quickly–we'd do an album in three weeks from start to finish–but that took about nine days, which for us was absurd. There was so much agonising over it more from the producer than us." The song used an [[acoustic guitar]] with a [[bossa nova]] drumbeat. According to Shirley, the song was about "...a 'fifth member' of the band–a spirit they felt occupied the stage, lifting them to a higher plane when they were playing well."{{sfn|Shirley|1994|pp=68}} The [[music video]] was originally intended to show a physical representation of the spirit, including "a single dancer with a white face mask and [[Body painting|body paint]] who would come onto the stage whilst the band performed the song and literally 'lift' Peter and give him wings."{{sfn|Shirley|1994|pp=68}} However, the producers changed the spirit to a spectral female figure "who would walk through the theatre along with a motley crew of clowns and jugglers."{{sfn|Shirley|1994|pp=68}} When the band returned from their tour of the United States, they disliked the music video and wanted to redo it. The record label refused, unwilling to provide more money for it, but the band insisted on changing the video. David J explained: "So we raised the money ourselves out of our own bank balances and pooled our money and so we went in and re-edited it, trying to get it into some kind of shape. We did it. Delivered the master to Beggars Banquet. Next week–this was at the time of the video jukebox craze–we went into a pub and we see the original horrible version on the video. So we immediately rang Beggars Banquet and said; 'What's going on?' and they'd send out the wrong one and it had gone off to TV and everything."{{sfn|Shirley|1994|pp=69}} The single was intended to break into the Top 30 but only reached No. 42. The band was displeased with the single and rerecorded it in 1982 for their third album, ''[[The Sky's Gone Out]]''.{{sfn|Shirley|1994|p=115}} [[Nico]] made a guest appearance when the band played a gig in [[Salford University]] for a cover performance of the Velvet Underground song, "[[I'm Waiting for the Man]]".<ref name="Mister Moonlight" />

The band wanted to produce their third LP, ''The Sky's Gone Out'', themselves, but arguments ensued in the studio among the band members over creative direction.{{sfn|Shirley|1994|p=72}} The band members realised that they needed an objective perspective on their music, and producer Derek Tompkins was hired.{{sfn|Shirley|1994|p=72}} Tompkins commented: "I was, however, quite willing to act as an engineer provided the resident engineer was responsible for the engineering and I was only responsible for interpreting what they wanted to him and helping a bit creatively myself."{{sfn|Shirley|1994|p=73}}

The band were booked into [[Rockfield Studios]] in [[Wales]] for one month to record the album but had little original material written beforehand. Murphy explained: "The third LP was one of those unwritten albums that was done on the spot. An album of experimentation which was enjoyable to us because we didn't have any songs and we didn't feel like writing stuff and we said, "OK that's fine. If we don't have any songs we'll make the songwriting environment the studio."{{sfn|Shirley|1994|p=73}} Although the sessions were successful, conflicts arose between the band and engineer, with Tompkins as the mediator.{{sfn|Shirley|1994|p=73}} Although Tompkins did not understand the album's music or lyrics, he "always used to ask them what the song was about so I knew what mood I was aiming for".{{sfn|Shirley|1994|p=73}} Some of the lyrics reflected the band's personal feelings and experiences, such as "All We Ever Wanted Was Everything". According to David J, the song "evokes nostalgic memories of a time of innocence and naive yearning."<ref name="Mister Moonlight" /> David J praised Murphy's vocals on the song as "emoting the bittersweet sentiment so perfectly, every word ringing true."<ref name="Mister Moonlight" />

That same year, Bauhaus scored their greatest hit with a cover of [[David Bowie]]'s "[[Ziggy Stardust (song)|Ziggy Stardust]]", which was recorded during a BBC session. The song was chosen by the band in response to critics who had accused them of copying Bowie's sound. Ash explained: "[W]e thought we'd do the opposite of what they'd expect and promptly release 'Ziggy'."{{sfn|Shirley|1994|p=77}} The song reached No. 15 on the British charts and earned the band an appearance on the television show ''[[Top of the Pops]]''.{{sfn|Shirley|1994|p=78}} ''The Sky's Gone Out'' also became the band's greatest album success, peaking at No. 3.{{sfn|Shirley|1994|p=79}} That same year, Bauhaus appeared in the horror film ''[[The Hunger (1983 film)|The Hunger]]'', performing "Bela Lugosi's Dead" during the opening credits. The final cut of the scene focused on Murphy; this, coupled with his modelling work in a popular ad campaign for [[Maxell]], caused resentment among his bandmates.{{sfn|Shirley|1994|pp=91–93}}

====''Burning from the Inside''====

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 assumed control of the album and performed lead vocals on several tracks.{{sfn|Shirley|1994|pp=96–97}} The album's song "Who Killed Mister Moonlight" was described by David J as a "surrealistic ballad inspired in part by the [[murder of John Lennon]]". Also, the mysterious character of Mister Moonlight had a symbolic meaning, which was seen by the band "as being representative of the dreamy, poetic aspect of Bauhaus".<ref name="Mister Moonlight" /> 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.{{sfn|Shirley|1994|p=99}} Bauhaus then embarked on an international promotional tour for the album, with dates in Europe and the Far East.{{sfn|Thompson|2002|p=137}} On 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. Fans had been warned by the band's crew to not miss the show, without telling them it was the last. After a long [[encore (concert)|encore]], consisting of some of their early songs, David J left the stage with the words "rest in peace".{{sfn|Thompson|2002|p=137}} ''Burning from the Inside'' was released one week later. The album received largely positive reviews and reached No. 13 on the charts.{{sfn|Shirley|1994|p=100}} Bauhaus released the single "Sanity Assassin" in limited quantities as a farewell gift to their fan-club members.{{sfn|Shirley|1994|p=102}}

=== Post-Bauhaus careers and solo projects ===
[[File:Peter Murphy London February 3 2006 looking up.jpg|thumb|right|200px|Vocalist [[Peter Murphy (musician)|Peter Murphy]]]]

During the band's initial lifecycle, solo projects would be initiated at times. In 1981, while still a member of Bauhaus, David J started a solo project with Rene Halkett, an original student of the [[Bauhaus]] art school.{{sfn|Shirley|1994|p=109}} This correspondence came about due to Halkett's younger neighbor telling him of hearing about a group called Bauhaus on the John Peel Show on BBC radio.<ref>{{cite journal |author1=NME |title=NME Magazine 21 November 1981 |journal=New Musical Express |date=November 21, 1981 |issn=0028-6362}}</ref> This intrigued Halkett and he soon wrote to Peel about getting in touch with the band. They eventually met, discussed poetry and decided to send David a cassette tape that contained Halkett reciting two of his poems, in hopes of enticing David to collaborate with him. After listening intensely to the tape, David decided to go to a recording studio where he created backing music for the tape. This collaboration resulted in a single called "Armour/Nothing" which was released by 4AD. According to David J regarding the correspondence, "He wrote to John Peel when he was playing Bauhaus' first record, 'Bela Lugosi's Dead', and Rene was then in his 70s and was an avid listener to John Peel's show. He heard this and was intrigued that this band of young upstarts had usurped the name Bauhaus and he wrote to John Peel asking for more information. Peel sent me the letter and I was just amazed to be in contact with somebody from that time, so I wrote to Rene and we struck up this correspondence and in the end would meet up and I'd go down and visit him in his little cottage in Cornwall. We ended up making a record together, which was his poetry that I put to music. It was one of the first releases on 4AD. I would just go down and he would enthrall me with these stories of him appearing in these cabaret clubs in Weimar and dancing on the piano and letting off revolvers in the club and this whole sort of barbarous cabaret scene that he was intrinsically involved in. He met [[Bertolt Brecht]] and people like that, the surrealists came through and his teachers were [[Wassily Kandinsky|Kandinsky]] and it was just amazing to have a friend from that time so that gave me a real insight, to actually be communicating with somebody that was there."<ref name="An Eclipse of Ships">{{cite web |author1=Post-Punk.Com |title=New David J album "An Eclipse of Ships" Plus Interview |url=https://post-punk.com/new-david-j-album-an-eclipse-of-ships-plus-interview/ |website=Post-Punk.Com |access-date=29 October 2022 |date=May 14, 2014}}</ref> Halkett commented on his contribution to the single: "I felt that the two poems required something more than print because they depend on things which can only be expressed in musical signs... It (the single) falls between music and poetry and is not entirely either. With "Nothing", David has written a perfect arrangement for what is a quite concentrated philosophical idea and it becomes so much more than the words..."{{sfn|Shirley|1994|p=110}}

After Bauhaus disbanded, the members of the band began solo work. Murphy worked briefly with bassist [[Mick Karn]] of [[Japan (band)|Japan]] in the band [[Dalis Car]] before embarking on a solo career with albums such as ''[[Should the World Fail to Fall Apart]]'' (1986), ''[[Love Hysteria]]'' (1988) and ''[[Deep (Peter Murphy album)|Deep]]'' (1989). Ash had already started Tones on Tail with Bauhaus roadie Glen Campling as a side project in 1982. After Bauhaus disbanded, Kevin Haskins joined the group and the trio released an album and several EPs but disbanded after a 1984 American tour.<ref name="RS">{{cite magazine |url=https://www.rollingstone.com/music/artists/bauhaus/biography |title=Bauhaus |magazine=[[Rolling Stone]] |access-date=24 February 2012 |archive-url=https://web.archive.org/web/20120810165028/http://www.rollingstone.com/music/artists/bauhaus/biography |archive-date=10 August 2012 |url-status=dead }}</ref> 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.{{citation needed|date=January 2021}}

The former members of Bauhaus planned to reform and arranged a rehearsal, but Murphy failed to appear on the scheduled day. However, the other three band members rehearsed and were inspired by the chemistry that they developed as a trio, leading to the formation of [[Love and Rockets (band)|Love and Rockets]] in 1985.{{sfn|Shirley|1994|pp=113–14}} Love and Rockets released several highly acclaimed albums and penetrated the American charts with "[[So Alive (Love and Rockets song)|So Alive]]" in 1989.<ref name="Novak Harrell 2020 x975">{{cite web | last1=Novak | first1=Jim | last2=Harrell | first2=Phil | title=Love And Rockets' Psychedelic Train Ride Laid The Foundation For Alt-Rock | website=NPR | date=March 18, 2020 | url=https://www.npr.org/transcripts/817164202 | access-date=February 1, 2024}}</ref> The band dissolved in 1999, briefly reunited for a festival tour in 2009 and then reunited in 2023.<ref name="Pehling 2023 v034">{{cite web | last=Pehling | first=Dave | title=Reunited modern-rockers Love and Rockets headline the Fox in Oakland | website=CBS San Francisco | date=May 18, 2023 | url=https://www.cbsnews.com/sanfrancisco/news/love-and-rockets-reunited-modern-rock-icons-fox-theater-oakland/ | access-date=February 1, 2024}}</ref> Both Ash and David J released solo albums during the Love and Rockets years, and Murphy contributed backing vocals to David J's 1992 single "Candy on the Cross".{{citation needed|date=January 2021}}

=== Subsequent developments: reunions and a final album ===
[[File:Bauhaus_SF_Masonic_Auditorium_San_Francisco_May_2022.png|thumb|right|Bauhaus performs at the SF Masonic Auditorium (May 2022).]]
Bauhaus reunited for the Resurrection Tour in 1998. Their stage show opened with ''Double Dare'' and Murphy singing to the audience on a television screen.<ref>{{Cite web|url=http://link2wales.co.uk/1998/gigreviews/bauhaus-manchester-academy/|title=Bauhaus @ Manchester Academy |website=Link2wales.co.uk|date=7 November 1998 |access-date=17 June 2021}}</ref> The tour featured a new song, "The Dog's a Vapour", which was also included in the ''[[Heavy Metal 2000]]'' film soundtrack. A [[live album]] was recorded during the tour, ''[[Gotham (album)|Gotham]]'', which was released the following year. It included a studio recording of Bauhaus' cover of the [[Dead Can Dance]] song "Severance".<ref>{{cite web |title=Bauhaus Gotham |first=Matt |last=Mernagh |date=30 November 1999 |url=http://exclaim.ca/music/article/bauhaus-gotham |publisher=exclaim.ca |access-date=15 February 2016 |archive-url=https://web.archive.org/web/20160302122606/http://exclaim.ca/music/article/bauhaus-gotham |archive-date=2 March 2016 |url-status=live }}</ref>
[[File:Daniel Ash in London February 3 2006.jpg|thumb|left|200px|Daniel Ash in 2006]]
Bauhaus reunited again in 2005, playing the [[Coachella Valley Music and Arts Festival|Coachella Festival]] in [[Indio, California]]. Their set opened with Murphy being lowered upside-down to the stage while singing "Bela Lugosi's Dead".<ref name="LA" /><ref>{{cite web |author1=BrooklynVegan Staff |title=Neutral Milk Hotel, Bauhaus & 13 other amazing Coachella performances |url=https://www.brooklynvegan.com/coachella-15-of-our-favorite-performances-to-watch-since-the-fest-is-postponed/ |website=BrooklynVegan |access-date=30 October 2022 |date=April 17, 2020}}</ref><ref>{{cite web |author1=Vanessa Franko |author2=Richard Guzman |author3=Peter Larsen |title=20 Coachella festival performances we'll never forget |url=https://www.pressenterprise.com/2019/04/09/20-coachella-festival-performances-well-never-forget/ |website=The Press-Enterprise |publisher=MediaNews Group |access-date=30 October 2022 |date=April 9, 2019}}</ref> Following Murphy's 2005 tour, Bauhaus embarked on a full tour beginning in [[North America]] in Autumn 2005 and ending in [[Europe]] in February 2006. During the tour, Bauhaus covered [[Joy Division]]'s "[[Transmission (song)|Transmission]]".<ref>{{cite web |url=https://www.youtube.com/watch?v=NSIKgvfkrfQ |title=Bauhaus – Transmission (Live in Berlin – Feb 06) |website=[[YouTube]] |date=4 May 2006 |access-date=6 December 2013 |archive-url=https://web.archive.org/web/20140606212358/http://www.youtube.com/watch?v=NSIKgvfkrfQ |archive-date=6 June 2014 |url-status=live }}</ref> The band also mentioned that they hoped to record new music. In May, they performed as the opening act during [[Nine Inch Nails]]' American tour.<ref>{{cite web |url=http://www.mtv.com/news/articles/1526071/nine-inch-nails-tap-bauhaus-summer-tour.jhtml |title=Monsters of Goth: Nine Inch Nails, Bauhaus Uniting for Summer Tour |website=[[MTV]] |date=14 March 2006 |access-date=9 December 2013 |archive-url=https://web.archive.org/web/20131213074938/http://www.mtv.com/news/articles/1526071/nine-inch-nails-tap-bauhaus-summer-tour.jhtml |archive-date=13 December 2013 |url-status=dead }}</ref>

In 2008, Bauhaus released their first new studio album since 1983, ''[[Go Away White]]'', on the [[Cooking Vinyl]] label. However, it marked the band's end, and the album had no promotional tour. Haskins later said: "We were getting along really well, but there was an incident that occurred ... Some of us just felt that we didn't want to carry on as a working unit."<ref>{{cite magazine |url=http://billboard.com/articles/news/1047141/bauhaus-bowing-out-with-new-album |title=Bauhaus Bowing Out with New Album |last=Cohen |first=Jonathan |date=4 December 2007 |magazine=[[Billboard (magazine)|Billboard]] |access-date=7 March 2013 |archive-url=https://web.archive.org/web/20131207013720/http://www.billboard.com/articles/news/1047141/bauhaus-bowing-out-with-new-album |archive-date=7 December 2013 |url-status=live }}</ref> 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".<ref>{{cite web |url=http://Postwave.Gr/index.php?option=com_content&task=view&id=794 |title=Peter Murphy (Bauhaus) Interview |date=25 February 2008 |language=el |last=Giannakopoulos |first=V. |website=Postwave.gr |access-date=7 March 2013 |archive-url=https://web.archive.org/web/20131207150506/http://www.postwave.gr/index.php?option=com_content&task=view&id=794 |archive-date=7 December 2013 |url-status=live }}</ref> 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".<ref>{{cite web |url=http://SuicideGirls.com/interviews/David+J+of+Bauhaus |title=Interviews > David J of Bauhaus |date=14 March 2008 |last=Hathaway |first=Jay |website=[[SuicideGirls]] |access-date=7 March 2013 |archive-url=https://web.archive.org/web/20130505115219/http://suicidegirls.com/interviews/David+J+of+Bauhaus/ |archive-date=5 May 2013 |url-status=live }}</ref>

In 2017, Ash and Haskins toured as [[Poptone]] with Haskins' daughter Diva Dompe on bass.<ref>{{Cite web|url=http://www.riffmagazine.com/qa/poptone-new-tale-to-tell/|title=Q&A: Poptone has a new tale to tell {{!}} RIFF Magazine|website=Riffmagazine.com|date=5 June 2017 |access-date=11 January 2018|archive-url=https://web.archive.org/web/20180112042352/http://www.riffmagazine.com/qa/poptone-new-tale-to-tell/|archive-date=12 January 2018|url-status=live}}</ref> The group performed songs by 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]].<ref>{{Cite web|url=https://www.pledgemusic.com/projects/poptone|title=POPTONE: 2017 Live Album|website=PledgeMusic|access-date=11 January 2018|archive-url=https://web.archive.org/web/20171205001352/https://www.pledgemusic.com/projects/poptone|archive-date=5 December 2017|url-status=live}}</ref>

In 2018, Murphy and David J announced a tour of New Zealand, Australia and Europe to celebrate the 40th anniversary of Bauhaus, performing ''In the Flat Field'' in its entirety.<ref>{{Cite web|url=https://www.nme.com/news/music/bauhaus-40-anniversary-tour-uk2361768-2361768#axiVogdgMPjSEl4P.99|title=Members of goth-rock outfit Bauhaus announce UK tour to celebrate band's 40th anniversary|website=Nme.com|date=31 July 2018 |access-date=4 August 2018|archive-url=https://web.archive.org/web/20180805083050/https://www.nme.com/news/music/bauhaus-40-anniversary-tour-uk2361768-2361768#axiVogdgMPjSEl4P.99|archive-date=5 August 2018|url-status=live}}</ref>

In September 2019, after a 13-year hiatus, Bauhaus announced a show at the 4,000-seat [[Hollywood Palladium]] with all original members on 3 November. A second show was added for the following night after all tickets for the first show sold quickly. A third date at the same venue was confirmed for 1 December.<ref>{{cite web|first=Ben|last=Kaye|url=https://consequence.net/2019/09/original-lineup-bauhaus-reunite-concert/|title=Original Bauhaus lineup to reunite for first time in 13 years|publisher=consequence.net|date=19 September 2019|access-date=26 September 2019|archive-url=https://web.archive.org/web/20190926004239/https://consequence.net/2019/09/original-lineup-bauhaus-reunite-concert/|archive-date=26 September 2019|url-status=live}}</ref>

In March 2022, Bauhaus released their first new song in 14 years with "Drink the New Wine", which was recorded separately by all four members during the [[COVID-19]] lockdown. The recording process used the [[Exquisite Corpse|exquisite corpse]] method whereby each artist adds to the piece without hearing what the others have done.<ref>{{cite web|first=Joel|last=Blistein|url=https://www.rollingstone.com/music/music-news/bauhaus-new-song-drink-the-new-wine-1325242/|title=Bauhaus Conjure a Surrealist Post-Punk Dreamscape on First New Song in 14 Years|publisher=rollingstone.com|date=23 March 2022|access-date=23 March 2022}}</ref>

Bauhaus toured Europe and the West Coast of the United States in 2022. The band was due to tour the East Coast of the United States, but the tour was cancelled on 31 August as Murphy announced that he was entering rehab.<ref>{{Cite web |last=Del Rosario |first=Alexandria |date=2022-08-31 |title=Bauhaus cancels rest of North American tour after frontman Peter Murphy goes to rehab |url=https://www.latimes.com/entertainment-arts/music/story/2022-08-31/peter-murphy-rehab-bauhaus-cancels-north-america-tour-dates |access-date=2023-01-18 |website=Los Angeles Times |language=en-US}}</ref> On 19 April 2023, Ash confirmed that the Bauhaus reunion had ended, and the remaining remembers reformed Love and Rockets.<ref>{{Cite web |last=Pearis |first=Bill |date=2023-04-19 |title=BV interview: Daniel Ash talks Love and Rockets reunion, reissues, Bauhaus, motorcycles and more |url=https://www.brooklynvegan.com/bv-interview-daniel-ash-talks-love-and-rockets-reunion-reissues-bauhaus-motorcycles-and-more/ |access-date=2023-04-19 |website=Brooklyn Vegan |language=en-US}}</ref>