His simplistic recurring words “Life is but a dream”, his beautifully handled voice against a harmoniously repetitive keyboard melody, and his crazed shout that sounds almost as if it could have ripped his own throat out wherein the album's title is put into play, all contribute to the significance of 'The Sky's gone out' in Bauhaus' whole career. On the epic closer and definitively diverse 'Exquisite Corpse', Murphy goes through quite a lot of vocal techniques. On the extremely eerie, almost industrial 'Swing the Heartache' Murphy moans that “if I had been uglier, it would have been easier”, giving off yet another great aspect of his vocal talent. On the very solemn yet equally as sinister 'Silent Hedges', Murphy croons and wails his way as he is 'going to hell again' and 'looking into purple eyes'. Of course, this is just one example of the band's overpowering creativity on 'The Sky's gone out'.Įach and every song displays a different emotion, though these emotions are very much by-products of depression and sadness. As Murphy almost chants the repetitive words 'There are.' throughout, everything seems fully focussed, fast-paced and frenetically experimental. 'Third Uncle' features a rumbling bass line, congas alongside drums, guitar notes fading in and out, and of course, some very interesting lyrics. Right from the very start you can tell that Bauhaus tried to make this as distinctive possible. With a three-part epic, a very well executed cover version of 'Ziggy Stardust', and one track that is basically dominated by dialogue between two people, it seems that, structurally wise at least, Bauhaus' third effort is different to the first two. Of course, the music itself on 'The Sky's gone out' is equally as thought-provoking. 'The Sky's gone out' seems to be a looming black hole. 'Mask' looks like it could have been drawn by a toddler. 'In the Flat Field' depicts a man (who appears to be) either blowing a percussion instrument or swinging a long, blunt object. Thing is, the music isn't even needed to convince people that Bauhaus were an utterly distinctive band. With 'The Sky's gone out', Bauhaus not only succeed in keeping their music at an interesting and unique level, but also manage to express the darkest and most sorrowful emotions in more than just a few musical styles. As one can quite clearly grasp from the band's third and fourth records, 'The Sky's gone out' and 'Burning the inside out', the band did not show any signs of giving up at all. However, this success didn't stop the band from experimenting with their sound further. It just goes to show that, whatever you may think of them, their music certainly had an outstandingly powerful effect on everyone (including the burgeoning Gothic Rock and Post-Punk music scenes). And the band hadn't even been together for five years yet. Regardless if you like the band or not, this record may interest you somewhat.īy 1982 Bauhaus had already achieved quite a lot of mainstream success, the incredibly diverse début 'In the Flat Field' and equally as distinctive follow-up 'Mask' generating attention from even the biggest media outputs of the world, including horribly harsh reviews from NME and 'Sounds' magazine. Review Summary: Changing from eerie sounds and unashamedly distinctive musical styles, 'The Sky's gone out' sees Bauhaus reach their career peak, even if they would break up one year later.
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