Bauhaus (band)

Bauhaus

Company type	Band
Industry	Music
Founded	1978 in Northampton, England
Founder	Daniel Ash, Peter Murphy, Kevin Haskins, David J
Headquarters	Northampton , United Kingdom
Products	Music albums, singles

Bauhaus was a British rock ensemble established in Northampton in 1978, recognized for their somber aesthetic and foundational influence on gothic rock. Their sound integrated elements from various genres such as dub, glam rock, psychedelia, and funk. The group consisted of Daniel Ash (guitar, saxophone), Peter Murphy (lead vocals), Kevin Haskins (drums), and David J (bass guitar).

Initially called Bauhaus 1919, a nod to the founding year of the German art school, they shortened their name within their first year. Their 1979 debut single, "Bela Lugosi's Dead", is regarded as a seminal track in gothic rock and significantly shaped goth subculture. Their first album, In the Flat Field, is widely viewed as one of the earliest gothic rock records. The subsequent 1981 release Mask broadened their musical palette by incorporating keyboards, saxophone, acoustic guitars, and funk-influenced rhythms evident in tracks like "Kick in the Eye".

The band achieved wider recognition with their third album, The Sky's Gone Out, which climbed to No. 3 on the UK Albums Chart in 1982. That same year, their rendition of David Bowie's "Ziggy Stardust" reached No. 15 on the Singles Chart and earned them an appearance on Top of the Pops. During recording sessions for their following album, tensions arose due to Murphy’s illness, leading to the group's dissolution on 5 July 1983—shortly before releasing Burning from the Inside, which featured the Top 30 UK single "She's in Parties".

Following the breakup, Murphy pursued a solo career alongside forming Dalis Car, gaining considerable success in the United States. Meanwhile, Ash and Haskins created Tones on Tail, later reuniting with David J to establish Love and Rockets, which also enjoyed commercial achievements. Bauhaus reunited intermittently for tours in 1998, between 2005 and 2008, again in 2019, and most recently in 2022.

History

Daniel Ash, David J., and Kevin Haskins had collaborated since childhood in bands performing covers of Rolling Stones and the Beatles. Initially, Ash was unsuccessful in recruiting his schoolmate Peter Murphy; however, after Murphy’s previous band the Craze disbanded and while he was employed at a printing plant, he joined Bauhaus and co-wrote "In the Flat Field" during their inaugural rehearsal.

Kevin Haskins took on drumming duties while Ash deliberately excluded David J at first to retain leadership control, instead bringing Chris Barber on bass. Barber was soon replaced by David J, who proposed the name Bauhaus 1919. Despite other obligations, David J committed to joining, completing the lineup that made their debut at the Cromwell pub in Wellingborough on New Year’s Eve 1978.

The moniker Bauhaus 1919 referenced the German Bauhaus art movement due to its stylistic implications. The band adopted the typeface used on the Bauhaus college building in Dessau and incorporated Oskar Schlemmer’s emblem into their visual identity. Graham Bentley observed that Bauhaus distinguished themselves from other Northampton groups primarily focused on cover material. Bentley recorded one of their performances intending to attract record label interest; however, limited availability of home-video technology led them to opt for creating a demo instead.

"Bela Lugosi's Dead"

Shortly after forming, Bauhaus recorded a demo at Beck Studios located in Wellingborough. Their initial track, "Bela Lugosi's Dead", extended beyond nine minutes and was issued as their first single through Small Wonder Records in August 1979. The song made its radio debut on BBC DJ John Peel’s program in September 1979. Sounds magazine described the single as possessing "a moody intensity". Around this time, the group simplified their name by removing "1919," becoming known solely as Bauhaus.

The track showcased the band’s fascination with reggae and dub music, highlighting prominent bass and drum elements. Recorded in a single take, it featured Murphy’s first vocal session using a studio microphone despite battling a cold. Kevin Haskins incorporated a drum pattern influenced by bossa nova, while Daniel Ash crafted eerie chords inspired by a slowed version of a Gary Glitter tune. David J penned lyrics that referenced Bela Lugosi, famed for his portrayal of Dracula. Echo effects were produced using an antiquated HH echo device connected to the guitar and snare drum.

Murphy explained that the song delves into the seductive mystique of vampires, employing Bela Lugosi’s name more as a kitsch symbol than a straightforward homage. Major labels such as Virgin and EMI rejected the lengthy composition for being commercially unviable or excessively long. Even Beggars Banquet turned it down before Small Wonder Records accepted it, drawing comparisons to the Velvet Underground’s "Sister Ray".

Receiving favorable critiques, "Bela Lugosi's Dead" maintained a presence on British independent charts for two years and garnered significant airplay on BBC Radio 1 and John Peel’s show. Following their Peel session broadcast in January 1980, audience interest increased substantially. Additional recordings from this session revealed the band experimenting with diverse styles, including elements of ska.

In the Flat Field

Following the success of their landmark single, Bauhaus parted ways with Small Wonder Records due to the label’s limited capacity to support touring because of budget restrictions. Stennet highlighted that the label lacked funds necessary to finance tours critical for expanding the band’s reach. After signing with 4AD, Bauhaus released the singles "Dark Entries" in January 1980 and "Terror Couple Kill Colonel" in June 1980, leading up to their debut album In the Flat Field in October 1980. The album cover, selected by David J, features Duane Michals’ photograph titled Homage to Purvis de Chavannes. Although reviews were mixed—Andy Gill from NME dismissed them as "a hip Black Sabbath"—the album topped independent charts and peaked at No. 72 on the UK Albums Chart. The band admitted it did not entirely reflect their artistic vision but regarded it as their most authentic statement at that stage.

In August 1980, Bauhaus toured North America with shows across Toronto, Chicago, and New York City. One early American gig took place at Space Place in Chicago, arranged by Wax Trax! Records’ owners. Upon returning to England in October, they embarked on a 20-date tour throughout the UK and Europe to promote their debut record. In December 1980, they released a cover version of "Telegram Sam", originally by glam rock trailblazers T. Rex.

Mask

As Bauhaus’ popularity grew beyond the scope of 4AD, they transitioned to its parent company, Beggars Banquet Records. Their debut release under this label was the single "Kick in the Eye" in March 1981, which reached number 59 on the UK charts. This was followed by "The Passion of Lovers" in July, attaining a peak position of number 56. Murphy highlighted their deliberate approach to ensuring each single possessed a distinct musical character. David J explained some of the innovative recording methods applied to the title track of their sophomore album.

The album Mask, issued in October 1981, showcased an increased use of keyboards alongside a broader range of instruments. The impressionistic artwork adorning the cover was designed by Ash.

To support the album, Bauhaus created an unconventional promotional video for its title track; notably, this was not linked to any specific single. Shot on a shoestring budget within an abandoned Victorian shoe factory and adjacent woodland estate, the video drew heavy inspiration from German Expressionism. It featured ritualistic and atmospheric visuals captured by Chris Collins. Despite its artistic quality, the video aired only once on British television.

At the same time, the band produced an experimental film called "Consequences," employing the surrealist "exquisite corpse" method—each member contributed segments that were screened during tours instead of traditional opening acts. To promote Mask, Bauhaus embarked on extensive tours throughout England (16 shows) and Europe (13 shows).

"Spirit" and The Sky's Gone Out

In July 1982, Bauhaus released the single "Spirit", which was produced by Hugh Jones, marking a shift from their usual practice of self-production. The recording sessions were marked by tension; David J noted that what typically took three weeks was compressed into nine days. The track incorporated an acoustic guitar accompanied by a bossa nova-style drum rhythm and was inspired by a "fifth member" spirit believed to elevate their live performances. The band’s original concept for the music video was altered by producers, causing disappointment. Although they financed a re-edited version themselves, the label mistakenly released the initial cut. The single peaked at number 42, falling short of expectations, prompting a rerecording for inclusion on their third album, The Sky's Gone Out. During this period, Nico made a guest appearance at a Salford University show performing "I'm Waiting for the Man".

While Bauhaus intended to produce The Sky's Gone Out independently, creative disagreements led them to bring in producer Derek Tompkins as an impartial mediator and engineering liaison. The album was recorded over one month at Rockfield Studios in Wales, with much of it being improvised due to a lack of prepared material. Murphy described it as an experimental endeavor developed entirely within the studio setting because they had no songs ready beforehand. Despite friction between the band and engineer, Tompkins succeeded in capturing the desired moods by grasping each track’s thematic essence. Songs like "All We Ever Wanted Was Everything" conveyed deeply personal feelings, with David J commending Murphy’s vocal performance.

That year marked Bauhaus’ highest-charting success with their BBC session cover of David Bowie’s "Ziggy Stardust", which reached number 15 on UK charts and earned them an appearance on Top of the Pops. This move served as a rebuttal to critics who accused them of merely imitating Bowie. Their third album, The Sky's Gone Out, became their most commercially successful release, peaking at number 3. Additionally, Bauhaus appeared in the horror film The Hunger, performing "Bela Lugosi's Dead". Murphy’s increased visibility through both the film and his concurrent Maxell commercial sparked tensions within the group.

Burning from the Inside

Prior to the recording of their fourth studio album, Burning from the Inside (1983), Murphy was debilitated by pneumonia, which significantly reduced his participation. Consequently, Ash and David assumed lead vocal duties on multiple tracks. David J characterized the track "Who Killed Mister Moonlight" as a "surrealistic ballad," partly influenced by the murder of John Lennon and reflecting Bauhaus's more poetic dimension. The album's lead single, "She's in Parties", achieved a peak position of No. 26, securing the band their third and final appearance on Top of the Pops. To support the release, Bauhaus embarked on an international tour but ultimately chose to disband the evening before two scheduled London performances.

Their final show took place on 5 July 1983 at Hammersmith Palais, featuring an extensive encore of early material and concluding with David J’s "rest in peace" farewell message. Released a week later, Burning from the Inside garnered favorable critical reception and climbed to No. 13 on the charts. The single "Sanity Assassin" was distributed in limited quantities exclusively to fan club members as a parting gift.

Post-Bauhaus careers and solo projects

Throughout Bauhaus's initial tenure, members engaged in various solo endeavors. In 1981, David J collaborated with Rene Halkett—one of the original Bauhaus art school students—resulting in the single "Armour/Nothing," issued by 4AD. This partnership blended Halkett’s poetic work with David’s musical compositions, creating a distinctive synthesis of sound and philosophy.

Following Bauhaus’s dissolution, Murphy briefly formed Dalis Car alongside bassist Mick Karn, before embarking on a solo career that produced albums such as Should the World Fail to Fall Apart (1986), Love Hysteria (1988), and Deep (1989). Ash had initiated Tones on Tail in 1982; after Bauhaus disbanded, Kevin Haskins joined this project, releasing an album and several EPs before its conclusion in 1984. David J issued two solo albums, collaborated with the Jazz Butcher, and worked with comics writer and spoken-word artist Alan Moore in the brief project Sinister Ducks.

A proposed Bauhaus reunion failed when Murphy did not attend rehearsals; however, the other three members formed Love and Rockets in 1985. This group achieved commercial success with their 1989 hit "So Alive", released multiple acclaimed albums, disbanded in 1999, briefly reunited for a festival tour in 2009, and came together again in 2023. During this period, Ash and David J continued solo efforts, while Murphy contributed backing vocals to David J’s 1992 single "Candy on the Cross".

Subsequent developments: reunions and a final album

Bauhaus regrouped for the Resurrection Tour in 1998, opening with Double Dare and introducing a new track titled "The Dog's a Vapour," which appeared on the Heavy Metal 2000 soundtrack. A live album named Gotham, recorded during this tour, was released the following year; it included a studio cover of Dead Can Dance's "Severance".

The band reunited once more in 2005, delivering a performance at Coachella that incorporated theatrical stage elements. After Murphy completed his solo tour, Bauhaus conducted an extensive North American and European tour into early 2006, featuring a cover of Joy Division's "Transmission" and expressing plans to produce new material. They also served as support for Nine Inch Nails during their American tour that year.

In 2008, Bauhaus unveiled Go Away White, their first studio album since 1983, released through Cooking Vinyl. This album marked their final project together; no promotional tour followed due to internal conflicts. Haskins referenced an incident that precipitated their decision to disband. Murphy spoke positively about their collaboration but acknowledged that ending the band was necessary. David J compared their breakup to an unstable chemical reaction.

In 2017, Ash and Haskins toured under the name Poptone, featuring Haskins’ daughter Diva Dompe on bass; their setlists included songs from Bauhaus, Tones on Tail, and Love and Rockets, culminating in a live album released via PledgeMusic.

In 2018, Murphy and David J announced a tour celebrating Bauhaus's 40th anniversary across New Zealand, Australia, and Europe, performing In the Flat Field in its entirety.

September 2019 saw Bauhaus announce reunion concerts at the Hollywood Palladium featuring all original members; overwhelming demand led to additional dates being added swiftly.

In March 2022, Bauhaus released "Drink the New Wine," their first new composition in fourteen years. Created remotely during COVID-19 lockdown using an exquisite corpse technique, they toured Europe and the U.S. West Coast but canceled East Coast shows after Murphy entered rehabilitation.

On 19 April 2023, Ash confirmed that Bauhaus’s reunion had concluded and that remaining members had reassembled Love and Rockets.

Influences

David J acknowledged that Bauhaus shared their post-punk era with contemporaries such as Joy Division, Pere Ubu, Devo, Gang of Four, Cabaret Voltaire, and the Pop Group. Their inspirations extended to artists like Siouxsie and the Banshees, David Bowie, T-Rex, Roxy Music, Syd Barrett of Pink Floyd, New York Dolls, Velvet Underground, Iggy Pop and the Stooges, the Doors, Alice Cooper, MC5, Ramones, the Sex Pistols, the Clash, the Residents, Captain Beefheart, Suicide, Kraftwerk, Neu!, Can, Faust, along with the Beatles, the Rolling Stones, the Who, Bob Dylan, Tom Waits, Serge Gainsbourg, Lee Scratch Perry, King Tubby, Mikey Dread, Kurt Weill, Scott Walker, and Jacques Brel.

In his early years, David J was drawn to jazz legends such as Miles Davis and Thelonious Monk. He also held Television’s Marquee Moon in high regard. Peter Murphy cited a wide range of influences from Doris Day to Simon and Garfunkel, the Beatles, the Everly Brothers, and experiences of Catholic Mass that shaped his vocal approach. Murphy’s inaugural single purchase was the Beatles' "A Hard Day's Night"; he also expressed admiration for Brian Eno’s ambient work Music for Airports. Daniel Ash found inspiration in The Dave Clark Five’s "Bits and Pieces" and classic rock icons including the Beatles and the Kinks; his first record bought was Dave and Ansell Collins’ "Double Barrel". Ash highlighted guitarists such as Hendrix, Mick Ronson, Robert Fripp, Earl Slick, as well as bands like the Only Ones, The Damned, Television, Richard Hell and the Voidoids among his key influences.

Kevin Haskins admired John Bonham of Led Zeppelin but gained confidence from punk groups like the Sex Pistols and the Clash. David J’s musical tastes were heavily influenced by Jamaican ska, roots reggae, and dub—reggae being his initial profound musical passion that shaped his bass playing style. According to Murphy, Bauhaus’s sound bore a closer resemblance to The Clash than to peers like The Cure; dub reggae’s influence was pivotal in their music, especially through bass lines anchoring their compositions.

The band experienced a local Rastafarian gathering that left a lasting impression on their musical direction; David J remembered its dynamic energy inspiring songs such as "Bela Lugosi's Dead." Their sonic palette combined elements from glam rock, punk rock, dub reggae, art rock, heavy metal, krautrock, avant-garde music, ambient music, traditional pop, disco, and funk.

Beyond musical genres, Bauhaus drew creative influence from literary and artistic figures including William S. Burroughs—particularly his cut-up technique—Brion Gysin, Allen Ginsberg, Jack Kerouac (whose work inspired one of their single titles), Bertolt Brecht, Arthur Rimbaud, Charles Baudelaire, Comte de Lautréamont (Isidore Ducasse), Jean Cocteau, André Breton along with Surrealism. Other sources of inspiration encompassed German Expressionism, Greek mythology with a focus on Dionysus, filmmakers Ingmar Bergman and David Lynch, Oscar Wilde’s aesthetic and ethos, Franz Kafka, and Antonin Artaud.

Regarding any connection to the original Bauhaus art movement influencing their name or musical style, Murphy clarified that it served solely as an emblematic choice representing sound and energy rather than having any direct stylistic impact.

Sound

Bauhaus fused diverse inspirations to forge a somber, sincere, and reflective style of post-punk that resonated with disenchanted listeners following punk's decline. Central to their sound were Murphy's deep, resonant vocals, Ash's sharp, angular guitar work, and David J's bass lines influenced by dub music. This combination shaped the defining characteristics of what became known as gothic rock or simply "goth."

David J has explained that the group deliberately distanced themselves from conventional rock band norms, experimenting with compositional methods such as the Exquisite corpse technique on tracks like "1. David Jay 2. Peter Murphy 3. Kevin Haskins 4. Daniel Ash," as well as employing Brian Eno’s Oblique Strategies to guide their creative process. They utilized unique instruments including bottleneck slides, echo devices, and a Syndrum to craft their signature sonic textures.

Their sophomore album, Mask, broadened their musical palette by integrating synthesizers, electronic elements, and saxophone to enrich tonal variety and dynamic range. This record embraced a looser, more impromptu structure compared to their debut; for instance, Of Lillies and Remains was captured live without prior rehearsal. Murphy described this method as channeling a collective creative energy that transcended traditional songwriting techniques. In 1981, Ash incorporated an EBow into his setup to further expand the guitar’s expressive possibilities.

Lyrics

The initial phase of Bauhaus' songwriting confronted taboo subjects including martyrdom, paranoia, insanity, obsession, and prostitution. For example, "Stigmata Martyr" delves into religious fixation manifesting physically; Murphy clarified that it serves as a caution against psychosomatic masochism rather than an anti-religious statement. "Dark Entries" draws inspiration from Oscar Wilde’s The Picture of Dorian Gray, Murphy’s preferred novel, exploring themes of vanity and mystical self-examination. Other compositions like "A God in an Alcove" portray the downfall of idols, while "In the Flat Field" conveys a yearning to break free from the banality of everyday existence.

Subsequent lyrics shifted focus toward nostalgia, longing, introspection, self-awareness, and optimism. "All We Ever Wanted Was Everything" evokes a sense of wistful innocence, while tracks such as "Kick in the Eye" reference literary works like Jack Kerouac’s Satori in Paris. Their lyric-writing frequently employed cut-up techniques; for instance, "Of Lillies and Remains" merges individual band members’ contributions without rehearsal, highlighting their collaborative creative dynamic.

Live performances

Bauhaus' concerts were notable for distinctive theatrical elements on stage, especially their lighting design inspired by a Judas Priest show attended by Peter Murphy and manager Graham Bentley. Their lighting scheme primarily used stark black-and-white contrasts with minimal illumination at times rendering the band barely visible during performances. Bentley—who managed the group and controlled the lighting—preferred using shadows and industrial-style floor lamps instead of overhead lights. A strobe light was regularly employed by Murphy to accentuate his movements on stage.

Legacy and influence

Frequently recognized as pioneers of goth music, Bauhaus themselves resisted this classification, favoring the term "dark glam." Peter Murphy acknowledged bands like The Cure as playing more pivotal roles in goth's evolution, while Kevin Haskins regarded Bauhaus as leaning more toward art rock. Daniel Ash conceded that their vampire-themed debut single "Bela Lugosi's Dead" firmly linked them to the goth genre.

Bauhaus’ influence extends across numerous goth and alternative acts such as Type O Negative, Alien Sex Fiend, Zola Jesus, Deine Lakaien, AFI, Buck-Tick, Lycia, Jaz Coleman (Killing Joke), The Cult, Glenn Danzig (Misfits), Greg Mackintosh (Paradise Lost), She Wants Revenge, The Dresden Dolls, Soul Merchants, She Past Away, Wolfsheim, and Wayne Hussey of The Mission UK.

Their impact also reached industrial rock performers including Ministry, Marilyn Manson, Nine Inch Nails, Nitzer Ebb, and Skinny Puppy.

Artists within alternative and indie spheres citing Bauhaus as an inspiration encompass The Flaming Lips, Steve Albini (Big Black), Jehnny Beth (Savages), Stephen Malkmus (Pavement), Alan Sparhawk (Low), Bradford Cox (Deerhunter), Mark Lanegan (Screaming Trees), Jesse Hughes (Eagles of Death Metal), Courtney Taylor-Taylor (The Dandy Warhols), Jeff Ament (Pearl Jam), Alex Henry Foster (Your Favorite Enemies), Nicholas Thorburn (Islands), Matt Noveskey (Blue October), Jane's Addiction, Soundgarden, The Smashing Pumpkins, A Neon Rome, ...And You Will Know Us by the Trail of Dead, Courtney Love (Hole) who admitted many songs are “complete Bauhaus rip-offs,” Interpol, My Chemical Romance, The Twilight Sad, Shearwater, and Elliott Smith.

Notable admirers span multiple genres: Jello Biafra (Dead Kennedys), Jonathan Davis (Korn), Celtic Frost, Ariel Pink, Maynard James Keenan (Tool), electronic musician Carl Craig, DJ Premier (Gang Starr), Reggie Watts (comedian/musician), Iranian artist Azam Ali, Japanese musicians Hide (X Japan), Mono, Dir En Grey’s Kyo—who named Press the Eject and Give Me the Tape his top desert island album—Moby, Massive Attack, Amebix, Drop Nineteens, White Hills, Today Is the Day, Coal Chamber, Behemoth, Napalm Death’s Randy Blythe, Fred Durst (Limp Bizkit), Serj Tankian (System of a Down), Sean Yseult (White Zombie), Bilinda Butcher (My Bloody Valentine), Stuart Braithwaite (Mogwai), Blink-182—referenced in “She’s Out of Her Mind”—and Duff McKagan (Guns N' Roses).

In 1996 Alternative Press included Bauhaus in its list of “100 underground inspirations of the past 20 years.”

The track "All We Ever Wanted Was Everything" has been covered by John Frusciante (Red Hot Chili Peppers), MGMT, and Xiu Xiu; Billy Corgan performed it live alongside Bauhaus in 1998. "Double Dare" was interpreted by The God Machine; System of a Down covered "Hollow Hills"; Nevermore recorded versions of both "Silent Hedges" and "Double Dare."

"Bela Lugosi's Dead" has seen numerous covers including Until December (1986), Electric Hellfire Club (1996), Opera IX (2000), Sepultura (2001), Nouvelle Vague (2006), Chris Cornell (2007), Nine Inch Nails (2009), Trent Reznor with Murphy and TV on the Radio (2013), Massive Attack (2013), David J with Jill Tracy (2013), Chvrches for the Vampire Academy soundtrack (2014), Dead Cross (2017), and The Damned (2019).

Cultural references

Bauhaus's impact reaches beyond their musical contributions, influencing literature and visual arts as well. The American author Chuck Palahniuk acknowledged the Bauhaus track "Bela Lugosi's Dead" as a creative spark for his 2005 novel Haunted. In James O'Barr's 1989 graphic novel The Crow, the protagonist Eric Draven's facial design was inspired by Bauhaus's lead singer Peter Murphy. Likewise, Neil Gaiman modeled the appearance of Dream, a character from The Sandman, after Murphy, highlighting the band's significance within comic culture.

Alan Moore, a renowned comic writer, provided liner notes for Bauhaus’s album Mask and penned an anonymous critique titled "Phantoms of the Teenage Opera" published in the UK music magazine Sounds.

Bauhaus-related merchandise has appeared in various notable contexts. For example, Peter Cetera of Chicago wore a Bauhaus T-shirt in the 1984 video for "You're the Inspiration," and Axl Rose from Guns N' Roses was seen sporting one during an interview at CBGB. Their rendition of David Bowie’s "Ziggy Stardust" was showcased in an episode of Beavis and Butt-head, while Susie Lewis, co-creator of the animated series Daria, incorporated their music into the show’s soundtrack. The band was humorously parodied as "Blauhaus" in a 2003 episode of South Park.

The song "Bela Lugosi's Dead" was featured in the premiere episode of American Horror Story: Hotel (2015–2016), complementing the series’ vampire storyline. In 2017, "Slice of Life" by Bauhaus played a central role in The Americans, earning acclaim as one of the show’s standout musical moments. Additionally, Saturday Night Live's recurring sketch "Goth Talk" used "Bela Lugosi's Dead" as its signature theme.

Blink-182 paid homage to Bauhaus in their 2016 track "She's Out of Her Mind," underscoring the band's enduring influence on alternative music genres.

Bauhaus’s live set at Coachella in 2005 is regarded by LA Weekly as one of the top five performances ever at the festival. Their appearance in Tony Scott’s movie The Hunger has been celebrated by Rolling Stone and Time Out as among the finest rock & roll moments captured on film and exemplary uses of songs within cinema.

Band members

Final lineup

• Daniel Ash – guitar, saxophone, lead and backing vocals (1978–1983, 1998, 2005–2008, 2019, 2022–2023)
• Peter Murphy – lead and backing vocals, acoustic guitar, keyboards, melodica, congas (1978–1983, 1998, 2005–2008, 2019, 2022–2023)
• Kevin Haskins – drums, percussion, keyboards, piano, backing vocals (1978–1983, 1998, 2005–2008, 2019, 2022–2023)
• David J – bass guitar, keyboards, percussion, lead and backing vocals (1978–1983, 1998, 2005–2008, 2019, 2022–2023)

Former

• Chris Barber – bass (1978)

Discography

Main article: Bauhaus discography

Studio albums

• In the Flat Field (1980)
• Mask (1981)
• The Sky's Gone Out (1982)
• Burning from the Inside (1983)
• Go Away White (2008)

References

Citations

Sources

External links

• www.petermurphy.info