Bauhaus - Go Away White (OUT NOW!!!)

[oscillations.]

BILLBOARD: BAUHAUS BOWING OUT WITH NEW ALBUM


December 04, 2007, 1:55 PM ET

Jonathan Cohen, N.Y.
The good news for Bauhaus fans: the group is eyeing a March 4 release for "Going Away White," its first studio album since 1983. The bad news: there will be no further activity from the legendary goth band, who reunited in 2005 for the Coachella festival and later toured the world.

"We were getting along really well, but there was an incident that occurred," drummer Kevin Haskins tells Billboard.com, declining to elaborate further. "Some of us just felt that we didn't want to carry on as a working unit."

As such, "Going Away White," which the band is releasing digitally via iTunes and on CD via its own Bauhaus Music imprint through Redeye Distribution, will close the book on Bauhaus. Haskins, guitarist Daniel Ash, bassist David J and vocalist Peter Murphy recorded the album last year after entering the studio "with nothing prepared," according to Haskins.

"I was concerned because history most of the time has proved that when groups reform and record, it doesn't work out," he says. "We all decided, let's just give it a go and see if it's working.

What emerged were songs Haskins says stay true to the original Bauhaus spirit, including "Adrenaline" and "Endless Summer of the Damned," which were performed during a summer 2006 tour with Nine Inch Nails.

"Now, there's a little bit of an empty feeling because we can't tour with it," Haskins admits. "All the same, it's something we're very proud of, and we feel a lot of people will be interested to hear it."












This is a huge deal for me, as I've been wondering what material would generate from the reunion tour & new live tracks displayed on the NIN tour. Bauhaus are one of my favorite bands, and I'm excited for this album (hoping it's excellent) but saddened to learn they will not tour for it. I bet you anything Peter & Danny had a fight.

[banet2001]

It will be interesing to hear what Bauhaus comes up with. Since they have been gone for 24 years, I am not optimistic that their new material will rival their older classics, but still it is nice to see them together again as a unit.

[banet2001]

Bauhaus Mark Final Breakup With Final Album

Goth godfathers Bauhaus have once again called it quits after a second reunion that started in 2005 and culminated in a 2006 tour with Nine Inch Nails. A Billboard.com interview quotes drummer Kevin Haskins on the reason for breakup: "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."

Mysterious indeed, but why tell us now, a good year since the band was active in reunion 2.0 mode? That answer is much more straightforward: Bauhaus are marking their official disbandment with the release of a final studio album, Going Away White. The title seems like a cheeky subversion of the all-black goth stereotype, so at least they have a sense of humor about the whole thing.

Bauhaus will release Going Away White on March 4 via their own Bauhaus Music (via Redeye Distribution).

Going Away White:

01 Too Much 21st Century
02 Adrenalin
03 Undone
04 International Bullet Proof Talent
05 Endless Summer of the Damned
06 Saved
07 Mirror Remains
08 Black Stone Heart
09 Zikir

www.pitchforkmedia.com/article/news/47483-bauhaus-mark-final-breakup-with-final-album

[busyboy]

Leaked.

[oscillations.]

I feel about 10 years old right now. I don't wanna go to bed until I hear it ;_;



Peter wrote an incendiary blog about rumours in circulation regarding the lack of a promotional tour, band relations, etc.

Promotional materials, including press release available for d/l:
www.cookingvinyl.com/press/Bauhaus/?g2_GALLERYSID=9eabe5bf3098e45fd3764735b2103fb0


BAUHAUS - 'GO AWAY WHITE'

"I come with this darkness and go away white."

Bauhaus slid fully formed from punk rock's womb in late 1978. Over the course of four hot years, they unintentionally birthed a genre (Goth), moved on, moved forward, and surged mercurial through the post-punk music scene, tearing into tense, stark, dub bass-driven new-wave, T-Rex-esque glam, and swirling, clattering, orchestral atmospherics, whilst churning it all into a grand velvet, Rimbaudian hallucination. It was a wild, inspired, enthralling sound. And it still is. Now there is a new record.

'Go Away White' was recorded in 18 days at Zircon Skye in Ojai, with singer Peter Murphy, bassist David J, guitarist Daniel Ash, and drummer Kevin Haskins playing together as a band in one room, taking first takes as final cuts. So, a new record but apparently a final one, the band having decided to release it as a posthumous swan song.

'Go Away White' is everything you would hope Bauhaus would deliver as their final statement. Fronted by a cover photo of Bethesda, the angel of the healing waters in New York's Central Park, the music inside is pure cathartic renovation, a psychedelic glimpse into an enchanted moment.
Aided in part by guitarist Daniel Ash's inspired use of Jimi Hendrix's own personal Vox wah wah pedal, gifted to him by Peter Murphy at the start of the sessions, it is pop as much as it is experimental.

The 10 songs on 'Go Away White' channel the kind of magic timelessness you could imagine on a mighty bill with Joy Division, Bowie, Devo, the Creatures, Antony, My Bloody Valentine, and Kraftwerk--with Oscar Wilde playing master of ceremonies.

As the NME once said, "Bauhaus are to Goth, what Radiohead are to Prog." It's all building blocks. Give 'Go Away White' an honest minute and you'll realize that The Klaxons, The Killers, The Rapture and Foals all got their beats from Bauhaus, and how--without them--there would be no Nine Inch Nails or Jane's Addiction or Bloc Party, Franz Ferdinand, AFI, TV on the Radio, Interpol, Hot Hot Heat or LCD Sound System.

The accomplishments of the band are too many to list here but to touch lightly, there are the four studio albums: 'In the Flat Field' (1980), 'Mask' (1981), 'The Sky's Gone Out' (1982), and 'Burning from the Inside' (1983). There is the riveting appearance with David Bowie in the movie,'The Hunger'. There are the classic Peel sessions and the hits--seismic rumbles such as 'She's in Parties', 'Kick in the Eye','Stigmata Martyr', and the great, epic, pillar of ether and brooding, psychedelia, that is 'Bela Lugosi's Dead.'

So, an end but an end with one final sonorous statement. Behold 'Go Away White'.

Watch as night comes, as day breaks and the light . . . pours . . . in.

--Adam Gnade

Released on March 4th, 2008 worldwide. Distributed by Red Eye in North
America, Cooking Vinyl for the rest of the world. It will also be
available as digital download on iTunes (only in North America).

[oscillations.]

Okay, so the verdict...

for now: it's solid to strong, bordering on excellent on a few key tracks (Endless Summer of the Damned still is my favorite, regardless of my 18 month exposure to it in live form). I can tell more tracks will reveal their secrets to me later. I rather like the sentiment of "Too Much 21st Century". It's...cute, even.

I'm not unsatisfied, I can tell you that. I hope they'll release a single.

[busyboy]

I finally listened to the album! After just one listen, it's not bad but it's not convincing either, IMO. A bit emotionless too, maybe.

Basically it's the prototypical album you'd expect from them, with the elements you'd associate with a Bauhaus album. It doesn't offer anything more or less than that.

I'm ready for my punishment now. Whip me, Colleen! :'( ;)

I've also listened to their other albums after a VERY LONG time. I still like Mask a lot, but I couldn't care less about In the Flat Field now.

Thanks to the powers of the Internets, I also dug through their b-sides and EP's and discovered "Crowds", from the "Telegram Sam" single released in 1980. It's AMAZING, I can't get enough of that!

[oscillations.]

Crowds is on the US release of ITFF & so is Telegram Sam (it has 18 tracks). I <3 it. ("You worthless b***h/ You fickle s**t"...)

That album will always be my favorite from them, and Mask is probably second (or their GH, of course). The Sky's Gone Out & Burning From The Inside are strong, but I usually listen to their singles more than anything else ("She's In Parties" is my eternal favorite song from them).

I don't really expect anyone to go crazy over this new album...not even hardcore fans. It's solid & unspectacular, but someone who has invested themselves into the band and their ethos could probably derive some satisfaction from it. You just have to let it hit you. My favorite songs from it are the ones I heard back in 2006. I do think the album grows on the listener over time, like 99% of releases. The first half > the second half, no question at all. My only hope is that it manages respectable reviews (something in the 60s or higher would be acceptable on metacritic).

P.S. There's a really good b-side (to BL'D) called "Boys". Try to find it.

[busyboy]

'Unspectacular' is the right term, I guess.

And re: investing themselves in an artist's work, I feel the same way about Greg Dulli's records after the Afghan Whigs broke up (OMG I WILL LOVE THAT BAND UNTIL THE END OF TIME R.I.P.). The first Twilight Singers' album was refreshing for the injection of electronica, but generally I think he's carrying on with a completely cristallized sound. Even the couple of Gutter Twins songs I've heard from his forthcoming collaborative album with Mark Lanegan leave me nostalgic for the music that made me fall in love with TAW.

P.S. "Boys" is on my HD now... ;)

[busyboy]

[oscillations.]

Reviews:
Rolling Stone 3 stars
www.rollingstone.com/reviews/album/18704850/review/18721866/go_away_white

Billboard (positive)
www.billboard.com/bbcom/content_display/reviews/albums/e3i064ef4c02067f0c8bcd4c55f91560340

Gigwise 3.5 Stars
www.gigwise.com/contents.asp?contentid=40306

Guardian 3 stars
music.guardian.co.uk/rock/reviews/story/0,,2260754,00.html

[oscillations.]

www.metacritic.com/music/artists/bauhaus/goawaywhite

64 so far, which is about what I expected.

[busyboy]

Out today in the US!

[oscillations.]

Great review from the Onion!
www.avclub.com/content/music/bauhaus

[oscillations.]

omg up to 71
www.metacritic.com/music/artists/bauhaus/goawaywhite

I'm just waiting for Pitchfork to get their nasty two cents in! Maybe they'll shock me & approve of it, though. There's no telling, after they shocked me with their recent Raveonettes' review.

[oscillations.]

Up to 75 on metacritic & here is a Finnish interview translated by someone from bauhausmusik.com's forum:


Sonic Seducer interview (finish…)

Peter Murphy: “For example, if you look at my own (solo) lyrics you’ll notice that they are quite different from Bauhaus lyrics. The context is decisive. Actually I didn’t write the new lyrics for Bauhaus but for Peter Murphy. But when I sing them together with Bauhaus they automatically sound like Bauhaus lyrics, because I adjust my singing mode subconsciously. Bauhaus merely works as a unit. (Then he says something like: Daniel’s and David’s contributions are very important to me.) It all melting down to become a whole. Within Bauhaus, the individual and the personal achievements of each one don’t matter, it only works as an entirety. The most fitting description for Bauhaus is: The art of Bauhaus is born out of Bauhaus itself. Four interacting elements that artistically respond to each other in their own characteristical way. For example, Daniel and I thought David’s lyrics for “Endless summer of the damned” were a living cliché. The whole idea and the use of the word damned in a Bauhaus song are so exceedingly blatant. But if you take a closer look at the meaning, you’ll see that it’s a very modern song about environmental destruction. But I also think that the album has some very romantic tones. The line “I come with this darkness and go away white” from the song “Black stone heart” summarizes the entire history of Bauhaus in only a few words. It is almost self-explaining and a great title for our last record. It sounds very ironic, although it was originally written in a completely different context. The decision to break up the band was only made after I had written these lines. Before that I had assumed we would stay together for a longer time. So the original meaning was transformed into the recent one subsequently.”

Daniel Ash: “With this particular line we make an explicit statement: We close the chapter Bauhaus with some, in my opinion, very optimistic words and we want the people to realize that we’re no fucking goth band that wallows in darkness, in depression and weltschmerz. On the contrary: There is a light at the far end of the tunnel. And to me it is not meant ironically! It is well-known that we never have been big fans of goth bands, and that we never liked the fact that we were classified as a goth band by the media. We always thought of (Bauhaus) as an art-band with a certain demand at ourselves and our art. Everything but goth! Goth has always meant lack of talent and too much make-up. We’ve always been sure that we were better than a typical goth band. In fact, even today we object to being called goths by anybody. The whole art-work for this album is done in white. White on white. There is not the slightest sign of darkness. If anything, this album is a kind of protest (?counterblow) against all this damned goth-kitsch! The problem is, how often does a normal person feel like gazing at a skull or watching other people with too much make-up and a tragic face? Hey, honestly, give us a break! “Go away white” doesn’t mean to go (?leave) in a negative state of mind but white and positive!”

As positive as in the song “Zikir”?

Peter Murphy: “True. Zikir is the Turkish word for a kind of contemplating the centre of all life, something very spiritual. Maybe you could also call it god: the complete union with the universe which is expressed through the holy repetition. You could see this song as an attempt to approach the idea of Zikir. A modern mantra, a spiritual.”

So it is the exact opposite to a song like “Too much 21st century”?

Daniel Ash: “That song is about information overkill via internet. (Today most people’s ability to concentrate is not better than that of an ordinary fly.) The whole world is lying at your feet in the world wide web. But this fact doesn’t make the people happier or more contented. Everything just becomes bigger, less comprehensible and more chaotic. You could say if you will that this evolution started with the invention of the wheel. We are slowly changing, but I cannot tell what will come out of it at the end. Each day we are assailed with too much information, too much of everything. Everybody wants to possess more than the others (?information or property? it’s vague). And what is the result? The exact opposite: more cancer, more suicides. Everybody is somehow worried about the development of our world in general. We’re forced to breathe polluted air, and to eat junk food. Instead of hanging around in front of their fucking PC screen all day, people should go out to nature or, like me, should ride their motor-bike and be free. The people would be so much happier in their real and true life. Riding my motor-bike every day keeps me alive and saves me from becoming insane in this technical world. I hate the internet just as much. And I hate e-mails. What kind of people do spend hours each day answering their e-mails? Why don’t they use the phone and call each other? People laugh at me for this opinion, or just shake their heads. But you know, fuck e-mail!”

But in spite of that you have your own Myspace-page?

Daniel Ash: “No, I don’t! I’ve got absolutely nothing to do with my website or my page on Myspace. Sometimes I take a look and laugh because I have no idea who is running them. In any case, it’s not me! On the other hand I’m glad that someone is doing this annoying promotional work for me. So I can stay away from this stress and trouble and just keep on riding my motor-bike instead.”

Doesn’t it feel odd reading strange things about yourself?

Daniel Ash: “I don’t read these things – it would only worry me. I watch those videos that are 10 years old and I wonder who is spending his time looking after all these things. It could be anybody! You, Peter Murphy, even my neighbour! I don’t even know how to create an account on Myspace. I prefer to be in the open, on the road or in my garage. I’d rather talk to mechanics than talk to musicians. Musicians are boring. I’m a musician myself, and I don’t really feel the need to communicate with other musicians. Motors and machines fascinate me!”

(…) Is there a chance of a reunion another 20 years from now?

Daniel Ash: “It’s not impossible, we’ll see! If we are all still alive then, under certain circumstances it could be worth a thought. You shouldn’t rule out the possibility – if somebody had told me beforehand I’d go into the studio again with this band to record a whole album, I would have declared that person insane. I wouldn’t have thought about it in my worst nightmares! With Bauhaus, it is like a relationship: You marry, argue, get divorced and you swear you’ll never talk to them again – let alone marry them again. But it happens anyway. Not very often, but it happens…”

You’ve been married for a short while…

Daniel Ash: “I was once. For a bit more than six months. But that was long ago.”

Peter Murphy: “At the moment it looks like this would be our last record. I can’t tell whether I’m relieved or not. On the one hand I am not because I had planned and was prepared to complete this existing “unfinishedness” of the band. I was very keen to see how it would feel like to be together for a longer time and to work together again. If there’s only one thing to say about Bauhaus it would be that this band has always been “unfinished” in its way. And will be forever.”

The original article was written by Thomas Clausen.

[oscillations.]

Interview in Uncut by Stephen Dalton.

The horror, the horror

They came from Northampton, in a hearse. They posed as bats "improved' Ziggy Stardust and battled malevolent energies within their own band. As another comeback ends in disarray, BAUHAUS are now ready to tell their story. Just dont call them goths...

A hot Californian night and Pete Murphy is dangling upside down from a rope, singing 'Bela Lugosi's Dead' in a strangulated croak. He has spent a week of rehearsals suspended upside in preparation for this April 2005 show at Coachella, the first Bauhaus gig in seven years. But the inverted crucifix routine is more than just a test of endurance, a piece of rock theatre. It is intended to resonate on a more mystical ritualistic level, symbolising the penultimate stage in alchemy, the state of putrescence, just before base materials is transformed into gold. To most of the Coachella crowd, sadly, its just a middle-aged bloke pretending to be a bat.
All the same, Bauhaus played with ragged passion that night, all freak-show glamour and occult melodrama in the moonlight. The show proved to be a window of opportunity and Murphy, guitarist Daniel Ash and the Haskins brothers - bassist David and drummer Kevin - toured extensively throughout 2005 and 2006. Trent Raznor - and old fan, predictably - invited them on the road with Nine Inch Nails.
Between tours, they booked time in a Californian studio to record a new LP, 'Go Away White', their first since 'Burning from the Inside' in 1983. Mostly assembled from spiky improvs and single takes, its an uneven affair, but with a pleasing rawness and experimental edge. After decades of critical derision and internal friction, it seems Bauhaus are finally back to reap the rewards they were too prickly and plain bloody-minded to enjoy during their '80's heyday. Except its all gone terribly wrong. Again. Typical Bauhaus.

TODAY, Pete Murphy is explaining his part in Bauhaus' downfall. "I'm a drama queen" he shrugs, "I'm a thespian, I'm not an accountant. I can be very direct in an effort to break things down, but that doesn't always work and I'm not completely tactful. And I think, to be honest, I frighten the others".
Once an androgynous creature of almost shocking beauty, he remains striking at 50, even if his hair is now thinning and his cheekbones have sunk a little. With a soft voice and a light stammer, he seems less like a rock star and more of a louche old luvvie of the Peter O'Toole school.
Though raised in a large, working class Anglo-Irish family, Murphy has perfected regal, even Byronic manner. Many of his critics have him pegged as a pretentious, humourless diva, a description he embraces with disarming good grace. "Well, I am completely pretentious" he laughs. "But I am very funny. Of course, I'm ultimately mediocre, on one level, as a human being. But being on stage enables you to stand out"
Like many late '70's bands, Bauhaus 1919 - their original name - were a gang of small-town misfits, united by their love for Bowie, Iggy, Roxy Music, Suicide and Can. There were other influences too, including funk and dub, which later lent their sound an unusually spacey, sinewy texture. "We weren't part of any scene, we were complete outsiders" says bass guitarist David Haskins, aka David J, who spent his teens sneaking into Northampton;s reggae clubs. "We felt on our own little planet. Of course there wasn't the internet, so it was a different kind of disconnect in those days. But we liked that."
"They were always intelligent, particularly David and Peter" recalls Alan Moore, the author and graphic novelist who was a Northampton contemporary of Bauhaus. "I recall Danny Ash coming round my house to ask if the things he'd picked on the local race-course were magic mushrooms or something more deadly. I'd obviously got a reputation, even then". Indeed so had Bauhaus. The bands early Northampton shows were memorably brutal. Daniel Ash remembers using his guitar as a weapon after the band were booked, bizarrely, to play to a crowd of National Front skinheads. "They were pissing into water bottles, pointing them at Peter and myself, and just soaking us in piss" says Ash. "we always liked a bit of adversity" Haskins laughs, "and we got that. We started playing in rough pubs in Northampton, and they either ignored us or violently protested. But we had this fierce self-belief"
With the nine-minute skeletal prowl of '79 debut 'Bela Lugosi's Dead', Bauhaus began to attract a national following. Signing to 4AD, their early LPs incorporated funk, Krautrock and electronica. But the 'Godfathers of goth' label stuck, largely thanks to their first single. Its still a sore point.
"Back then goth meant your hair was too big, you had too much make-up on and you didn't have any talent" Ash complains. "It was nothing to do with us. Three-Quarters of us went to Art school. We were an art band"

Hang on, in fairness, Bauhaus did drive around in a hearse.
"Not as a statement" Murphy Protests. "We weren't the Damned! But it was a beautiful car and we were broke". Hailing from Northampton, Alan Moore argues, Bauhaus could hardly escape the goth label. 'Northampton is probably the most gothic town in England" he explains. "its full of wonderful gothic churches going back a thousand years and its got an awful lot of black and bloody history. The War of the Roses finished in Northampton, and the Civil War. We were the only place in the country to actually burn witches. There's an awful lot of gothic history swirling around the place, so that may have been an influence on how Bauhaus turned out."

Certainly, Bauhaus's live shows seemed to offer an alluring alternative to the clean-cut pop of the early '80's. Preposterous, po-faced, but with a whiff of opium-smoking decadence. "There wasn't much actual decadence taking place" shrugs Murphy. "It was all on stage. People thought we were homoerotic, heroin-taking, incestuous... but really it would be be hotel, rest, cocoa, sleep".
In 1982, Bauhaus recorded their first top 20 hit with a cover of Bowie's 'Ziggy Stardust'. Murphy still insists their version is better. "I dont think he (Bowie) liked it" he frowns. "But it was pre love for him. It was also us kicking against the vitriol in the press. YOU called us Bowie copyists, so this is the ultimate irony". Around the same time, the singer starred in a striking ad campaign for Maxell audiocassettes. He received a one-off payment of £2,000. "Wasn't that great?" he grins. "Wasn't that subversive? Wasn't I beautiful?"
With a role in Tony Scott's contemporary film 'The Hunger' opposite Bowie himself, Bauhaus seemed on the brink of major success in 1983. Instead, they chose to disband on the eve of their fourth album 'Burning from the Inside'. Just hours after the split, Murphy was hospitalised with a serious case of pneumonia that almost killed him. He blamed malevolent energies within the band. "I didn't want the band to end" Murphy frowns. "But we were so up our arses, so repressed, we never really communicated. Being in that band was like being in a concentration camp. It was cold as ice, very British, very stuck-up. Not human."

Bauhaus wouldn't play together again for 15 years. In the meantime, Murphy launched a solo career and moved to Ankara with his Turkish wife, Beyhan. The remaining trio regrouped as Love and Rockets, relocating to California, where they remain today. Both factions enjoyed moderate US success in the late 80's and early '90's. Meanwhile, the viral influence of Bauhaus began to spread, particularly in America. Janes Addiction, Smashing Pumpkins Marilyn Manson, Nine Inch Nails, and Korn all arguably have one foot in Northampton. Back in Britain, bands like Suede, Muse, Placebo and even the Manics betrayed a touch of Bauhaus.
"Their version of 'Ziggy Stardust' was the ultimate glamorous outsiders anthem for indie kids and goths in the '80's" says Nicky Wire. "Bela Lugosi's Dead' was the quintessential comedown classic."

In 1998, Bauhaus reformed for the first time. Witnessed by this writer, they were on electrifying form, but too busy with other projects to consider a new album. Only six years later, reunited at Coachella, did they manage to record new material. "Go Away White' is the result. "I dont know about the others, but I felt about 25 in the studio" says Ash. "Within about five minutes it was like we were never apart. Its a very specific chemistry and very intense." Inevitably, in the studio, old tensions resurfaced. "Go Away White' ended up being an epitaph for Bauhaus, not the start of a new chapter. Murphy claims that the initial plan was to reform on a long-term basis. Ash is not so sure.
" Personally I didn't think it would go longer than an album" the guitarist comments. "i've got to be honest, there are four very healthy egos in this band. Its the classic thing with Bauhaus, it burns very bright, but it burns real quick."
Drummer Kevin Haskins recently hinted in Billboard that one specific incident scuppered the bands reunion plans, a claim the other three refute. "There wasn't one incident, just a combination of different stuff" disagrees Ash. "Its always been a dilemma for me, but no really good art comes out of people getting along great. The real ballsy stuff comes from a bit of aggro. You can hear it on the album, its not exactly peace and love. Looking back, I'm amazed we got ourselves in the studio after all these years. It was...... eventful, lets' say."
In the absence of a Bauhaus reunion, Love and Rockets have now reformed. They play Coachella in April, ironically, with more shows to follow. The other three members may have their own tensions, Haskins remarks pointedly, but they still manage to function without Murphy. "that might give you an insight into the nature of the combustible element." Haskins laughs. "The same thing made and broke the band. You can only contain that intensity for a certain amount of time before it explodes".

[oscillations.]

105 BAUHAUS GO AWAY WHITE 6,978 182 999 7,173

At least it sort of charted!

[busyboy]

I can't believe this is their first studio album to enter the Billboard 200! The other one to do so was an anthology IIRC, and it peaked at, like, 160.

[banet2001]

Go Away White got a decent 7.5 rating on Pitchfork. I usually expect Pitchfork to pan any album from long time veteran acts like Bauhaus.

www.pitchforkmedia.com/article/record_review/49483-go-away-white

[oscillations.]

Come back Bauhaus! :'(

Actually, I'm really pleasantly shocked by that P4K review.

[oscillations.]

www.allmusic.com/cg/amg.dll?p=amg&token=&sql=10:g9fwxzqjldke

4 stars!

[areyoureadytojump]

3/22 chart:

105 NEW BAUHAUS GO AWAY WHITE 6,978 182 999 7,173

[oscillations.]

See, even Bauhaus outsold Kylie a few weeks ago. And why, I bet they are at 12k or so now. What a smash.