Monday, March 31, 2014

Bauhaus: Dark Entries (1980/AXIS 3|BEG37)

         While technically not the first 4AD release, being not the first cataloged release under that moniker; due to its release in the AXIS name in January 1980 and its later release by 4AD that same year, this is the first release that I will review. Bauhaus A the only bandsof the AXIS four to have recorded before and the only one to continue making music after this single. This single of course is Dark Entries and was originally released on January 16th. Bauhaus around this time were becoming quite a famous name after their debut single ("Bela Lugosi's Dead") HAD last year attracted much radioplay and sales. That single was released on Small Wonder and is considered, by popular lore, to have kicked off the Goth movement. With having success but lacking a proper label, they approached Beggars Banquet with a tape, of which Peter Kent managed to receive and eventually sign the band to AXIS.
         The track Dark Entries is a rollicking, thunderous track that is continuously spiraling downward, with chords after chords seeming to get lower in tone after each other. It is quite a theatrical track that rushes towards the end with  dynamics building and Peter Murphy's singing becoming more increasingly chant like. It's a fairly decent A-Side which I think, while not maintaining the same level of excellence of their last single, is something intense and concentrated enough to warrant a few listenings. The funny thing with Bauhaus and their B-Sides is that most of the time they are at best throw-away tracks. Here the B-Side is Untitled, which consists of a minimalist guitar riff, some whisperings by Murphy about tissue and other none sense, and nothing else. Luckily it goes on for a abouts 2 minutes max. Because of its brevity and how different in mood it is from Dark Entries, I find Untitled actually fairly funny even though I doubt Bauhaus even considers it a real song. Overall it is a good single and if you wanted to own it on CD it can be found on the reissue of their album In the Flat Field.





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