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===Sound=== Bauhaus combined these influences to create a gloomy, earnest and introspective version of post-punk,<ref>{{cite web |url=http://AllMusic.com/artist/bauhaus-mn0000154998/biography |title=Bauhaus <nowiki>| Music Biography, Credits and Awards |</nowiki> AllMusic |last=Erlewine |first=Stephen Thomas |author-link=Stephen Thomas Erlewine |website=[[AllMusic]] |access-date=7 March 2013 |archive-url=https://web.archive.org/web/20130721100415/http://www.allmusic.com/artist/bauhaus-mn0000154998/biography |archive-date=21 July 2013 |url-status=live }}</ref> which appealed to many music fans who felt disillusioned in the wake of punk's collapse.<ref>{{cite web|url=http://www.vcreporter.com/cms/story/detail/?id=2838 |title=Ventura County Reporter β Goth Is Dead |last=Singer |first=Matthew |date=12 August 2005 |website=Ventura County Reporter |access-date=1 April 2014 |url-status=dead |archive-url=https://web.archive.org/web/20140407093757/http://www.vcreporter.com/cms/story/detail/?id=2838 |archive-date=7 April 2014 }}</ref> Its crucial elements included Murphy's deep and sonorous voice, Ash's jagged guitar playing and David J's dub-influenced bass. Their sound and gloomy style would eventually come to be known as [[gothic rock]] or simply "goth".<ref>{{cite web |url=http://www.allmusic.com/album/in-the-flat-field-mw0000193854 |title=''In the Flat Field'' β Bauhaus <nowiki>| Songs, Reviews, Credits, Awards |</nowiki> AllMusic |last=Raggett |first=Ned |website=[[AllMusic]] |access-date=7 March 2013 |archive-url=https://web.archive.org/web/20130303004741/http://www.allmusic.com/album/in-the-flat-field-mw0000193854 |archive-date=3 March 2013 |url-status=live }}</ref><ref>{{Cite web|url=https://pitchfork.com/features/lists-and-guides/the-story-of-goth-in-33-songs/|title=The Story of Goth in 33 Songs|website=Pitchfork.com|date=25 October 2017 |access-date=17 June 2021}}</ref> According to David J, the band were "...always keen not to be a traditional 'rock' band, and we would go to great pains to avoid that well-trodden road."<ref name="Mister Moonlight" /> They experimented with various techniques and methods for song composition such as the [[Exquisite corpse]] on tracks such as "1. David Jay 2. Peter Murphy 3. Kevin Haskins 4. Daniel Ash"<ref name="Mister Moonlight" /> along with the use of Brian Eno's [[Oblique Strategies]] cards.<ref>{{cite web |author1=Greg Prato |title=Bauhaus' Daniel Ash: "I don't really pick out guitar players in bands β I listen to something for the whole package" |url=https://www.guitarworld.com/features/bauhaus-daniel-ash-drink-the-new-wine |website=Guitar World |publisher=Future Publishing Limited Quay House |access-date=4 December 2022 |date=May 9, 2022 |quote=Interviewer: "What other avant-garde composition techniques have the band employed?" Ash: ""We've used Eno Cards [also known as Oblique Strategies]. I know David had those first, and then I actually went and bought a pack."}}</ref> To achieve some of the sound effects in their songs, various instruments were implemented such as bottlenecks, echo units and a [[Syndrum]].<ref name="John Robb" /> In their second album ''Mask'', expanded their sound with the addition of synthesizers, electronics and a saxophone to "add color and dynamics to each song."{{sfn|Shirley|1994|p=64}} The album was less structured and spontaneous compared to their first album. The song ''Of Lillies and Remains'' is an example of this method. According to Murphy: ""Of Lillies and Remains" is a song that was written as it happened. None of it was rehearsed, worked out or played beforehand. We simply told the engineer to turn on the tape. That was incredibly exciting. That said a lot for our confidence and courage and total absurdity; that it was possible to demonstrate that those ideas form an artistic point of view, come from another outside force β i.e. the collective creative thing."{{sfn|Shirley|1994|p=63}} In an interview with [[John Robb (musician)|John Robb]], Ash mentioned that he bought an [[EBow]] in 1981.<ref name="John Robb" />
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