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Bauhaus: Go Away White (Album Review)

Bauhaus split up back in 1983, but their latest live reunion persuaded them to step inside a studio for this, their first album in 25 years. True to form, the band have since gone their separate ways. Their comeback kicks off in ebullient fashion, with little of the inconsistency that once overshadowed their importance. Too Much 21st Century is edgy and energetic, with a bassline and harmonies reminiscent of Taxman by the Beatles. Bauhaus’strademark churning darkness is similarly coated in sticky pop for Adrenaline. But as the album progresses, the band ditch their contemporary sound and revert to the dirge-like, crypt-kicking sound of their past. The Mirror Remains is a meandering, doom-laden studio jam – with singer Pete Murphy’s blood-curdling scream followed by a bout of coughing – while The Dog’s a Vapour could be a Mighty Boosh-style parody. If this is the end of Bauhaus, they leave behind a slightly whiffy corpse.