Bauhaus – In the Flat Field

Review

Step into the shadowy realm of Bauhaus with "In the Flat Field," their audacious debut that arose from the murky depths on November 3, 1980, under the 4AD label. Recorded between December 1979 and July 1980, this album is an unholy chalice filled with the spectral essence of gothic rock, leaving an indelible mark on its evolution. Imagine walking through hazy corridors where echoes of Siouxsie and the Banshees, Adam and the Ants, and Joy Division whisper from ghostly walls, forging a disturbing yet alluring soundscape.

As the night descends, let Peter Murphy’s vocals, a haunting blend likened to both Iggy Pop and David Bowie, guide you through the labyrinthine tracks. Daniel Ash’s guitar work, drenched in the spirit of Mick Ronson, weaves a web of intricate, unsettling melodies. Critics were initially divided—some dismissed the album as “meaningless moans and flails,” while others celebrated its dense, disjointed splendor and its foray into the darkest corners of the soul. Tracks like "In the Flat Field" and "St. Vitus Dance" are immersive trips into tumultuous realms, culminating in the feverish climax of "Nerves." Over time, this sinister opus has garnered the recognition it deserves, standing tall as a monument to Bauhaus's dedication to the gothic tradition and their profound influence on the genre. - Kaida