There is absolutely nothing wrong with Brian Eno’s original take on Third Uncle. Bauhaus’s cover is just louder, fiercer, more dangerous, better. In fact, it gets downright harrowing before it’s done – a reminder that so-called Goth didn’t even exist at the time, Bauhaus being one of those rare outfits that forces a re-think, a whole new definition. Yeah, there were already lots of folks dressing in black, mourning for their own deaths, but they were just part of the greater scene, lurking in the shadows of the cooler clubs like something important was being born, but it hadn’t quite arrived yet. Until along came Bauhaus, looking good in black themselves, and way too loud to ignore.
“Bauhaus still had one more album after 1982’s The Sky’s Gone Out but in terms of invention and sheer sonic adventure, it’s pretty safe to say they peaked here. And nowhere are things creepier, more sonically inventive than the final track, Exquisite Corpse. Dub, oblique fragments of poetry, sheets of nightmarish noise. Needless to say, this got a lot of play through any number of psychedelic excursions in the lead up to the mid-80s. An abandoned house comes to mind, right at the seashore, a sort of lost cove off Vancouver’s north shore. The weird part is how everything was still furnished, the library still stocked with books. I grabbed one, heavy, bound in strangely moist leather. I opened it up to some calligraphy, a language I didn’t recognize and yet it spoke to me anyway, and then I realized that the ink was blood red and running in trickles to the hungry floorboards. Actually, I’m pretty sure it was all but a dream.” (Philip Random)
(photo: Fin Costello)
“Love and Rockets may not seem so important now. Just another sort of post-new-wave outfit rediscovering the beauty and expansive power inherent in taking rock (and not just a little pop) to the psychedelic realm. But in 1985 when their first album hit, it was almost unprecedented (or certainly very long out of style) – a modern music that dared to be colourful, epic, BIG, and not looking back at all, just straight ahead into the haunted now, because that’s what 1985 was like … if you had the right kind of eyes.” (Philip Random)
These 12 Mixtapes of Christmas have got nothing to do with Randophonic’s other 12 Mixtapes of Christmas from two years ago, or even with Christmas (beyond being a gift to you). And they’re not actually mix tapes, or CDs for that matter – just mixes, each 49-minutes long, one posted to Randophonic’s Mixcloud for each day of Twelvetide (aka the Twelve Days of Christmas).
There’s no particular genre, no particular theme or agenda being pursued, beyond all selections coming from Randophonic’s ever expanding collection of used vinyl, which continues to simultaneously draw us back and propel us forward (sonically speaking) — music and noise and whatever else the world famous Randophonic Jukebox deems (or perhaps dreams) necessary toward our long term goal of solving all the world’s problems.
Bottom line: it’s five hundred eighty-eight minutes of music covering all manner of ground, from Roy Orbison to Curtis Mayfield to Can, Bob Dylan, Manfred Mann’s Earth Band, Kraftwerk, Nitty Gritty Dirt Band and beyond (and that’s just from the first mix) — anything and everything, as long as it’s good.
The seventeenth of a planned forty-nine movies (without pictures), each forty-nine minutes long, featuring no particular artist, theme or agenda beyond boldly going … who knows? Or as Werner Von Braun once put it, “Research is what I’m doing when I don’t know what I’m doing.” And we definitely have no idea where all this will take us.
17. Invisible Cities
Tom Waits – clap hands
Fred Frith – Navajo
Invaders of the Heart – good ghosts + invisible cities
DS Crew – frontier
Passengers – Plot 180 
Love + Rockets – all in my mind [acoustic]
Bauhaus – exquisite corpse
Olivia Tremor Control – late music 1
James – DVV
Man – c’mon 
Orchestral Manouevres in the Dark – architecture + morality
Can – Come sta, la Luna
Further installments of the Research Series will air most Sundays at approximately 1am (Pacific time) c/o CiTR.FM.101.9, with Mixcloud streams usually available within twenty-four hours.
“Love and Rockets definitely felt fresh when they first hit in around 1985. Ex-Bauhaus players lightening up some, delivering solid psyche infused rock and pop at a time when pretty much nobody else was thinking that way. But by the time their third album hit, Earth Sun Moon, I guess I was looking elsewhere, because I didn’t really notice No New Tale To Tell until years after its release. In fact, it was the flute solo that hooked me via somebody else’s mixtape. Not since Jethro Tull …” (Philip Random)
An early single provides strong evidence that Bauhaus were far more than just a goth outfit (the term didn’t even exist until after they’d split up). What they were was smart, innovative, never remotely boring, with Terror Couple Kill Colonel working all manner of studio exploration to get seductively under the skin, into the blood.
It’s 1984 and proto-goth underlords Bauhaus have broken up, but guitar guy Daniel Ash still has some shadows to explore with bassist (and former Bauhaus roadie) Glenn Campling, an outfit they’re calling Tones on Tail. And it all comes good (if weird) with Pop, an album that goes all kinds of cool places. In the case of Real Life, that means acoustic, expansive, dynamic – the right kind of psychedelic.
“It’s perhaps hard to imagine now, but come the mid-1980s, so called psychedelic rock was pretty much absent as a musical force, even as an underground item. Chalk it up, I guess, to being two decades on from your various Beatles, Hendrix, Byrds, Cream (and related) eruptions and seductions, and the culture maybe just needing a break for a while. Except Love + Rockets sounded just fine to my ears, and relevant. They were Bauhaus basically, without the singer, which made a big difference — still conjuring cool moods and working powerful dynamics, but they’d left Dracula’s castle in the rearview, opted for a brighter, sweeter, more colourful set (and setting). Look no further than a title like Yin and Yang and The Flowerpot Man, though the song actually seems to be more about the mystical-magical virtues of alcohol than psychedelics, strangely enough.” (Philip Random)