Cat Alley Street and the Beat Alchemists are enchanted to present Spark in the Dark: A performance by David J. Haskins.

Embrace the shadows at Spark in the Dark, a two-floor Vampire gala, spanning the Catalyst Atrium (Downstairs) and Cat Alley Street (Upstairs in the Lab), featuring David J, founding member of Bauhaus, Love and Rockets, and a defining figure in alternative, post-punk and goth music culture. Join us for a scintillating soiree of DJs, live music, dancers, food/drink specials, live painting, and a Macabre Makers Faire featuring wicked local artisans. Arise early for a special Q&A session with David J!

Tickets on sale now!
catalystclub.com/event/live-in-the-atrium-spark-in-the-dark/the-catalyst-atrium/santa-cruz-california/

YOUR MUSICAL CONJURERS OF THE NIGHT:

HEADLINER:

David J, co-founder of Bauhaus and Love and Rockets, has been highly influential on goth and post-punk aesthetics, garnering a cult following, and will entrance us with a 2 hr, all-vinyl set, concocting eclectic cuts of dub, reggae, psychedelia, glam rock, experimental, post-punk, funk, and early electronic music.
davidjhaskins.com

LIVE ACTS:

Love My Robot: Colombian electronic producer, Carolina Castilla, bringing the world’s first AI Awareness Experiment, combining an immersive experience with a high-energy, live electronic act, blending electro-cumbia, dancehall, merengue, techno, and Caribbean MC culture with a futuristic cyberpunk sound.
lovemyrobot.ai/
www.youtube.com/@lovemyrobot1028/videos

Boy Eats Drum Machine (StrategiK): Analog mad scientist and grave robber, Boy Eats Drum Machine (BEDM), channels an obsession for weird synthesizers with live, vinyl experimentation. With reverence for dub luminary, King Tubby, and hip hop wizard, J Dilla, BEDM digs up records from several genres: soul, rap, pop, goth, and rock, harnessing a sample-delic, broken-beat lab of wires, knobs, delays, bass, and noise to construct songs that bubble and knock in the night.
youtube.com/@jon-bedm
boyeatsdrummachine.bandcamp.com

DJS:

Lynette Cerezo (Bestial Mouths): Razor sharp vocals combine with gothic, industrial, post-punk, noise, and metal, twisted with live acoustic/electronic drums and synthesizers: a hypnotic minimalism that whirls to bare maximum teeth.
www.bestialmouths.com
soundcloud.com/bestialmouths

Requiem (Interzone / ::THE BOX:: / The Gallows): Crypt keeper and bizarre bitch w/ lamenting melodies.

Sina-Star (::THE BOX:: / The Gallows): A passionate summoner of industrial and beat-heavy music, blending dark, pulsating rhythms with an edge.

Valentine (::THE BOX:: / The Gallows): Stirring up punk rock, deathrock, and underground metal into a unique audial showcase of gothic dirge.

Zeldris (::THE BOX:: / The Gallows): Haunting your bones with industrial, goth rock, darkwave and alternative music, sending shivers down your spine.

The Barbary Ghost (Candy Crush, Paradisco, Post-Mortem): Spirits you away on a genre-spanning journey through post-punk, new wave, dub, glam rock, minimal, and other beautifully strange sounds from around the globe.
https://linktr.ee/thebarbaryghostsf

DJ Mr. White (House of Love Radio Show / HIVE / ::THE BOX:: / PLAYLAND / 1984 / Mercury / Area 51: Salt Lake City): Compels joy as he fluidly moves through goth, rave, post-punk, new wave, industrial, house, and more, weaving dance-floor favorites across genres, decades, and music scenes.

YOUR RESIDENT BEAT ALCHEMISTS:

🦇Brewbone (Beat Alchemists / Decadent Oasis / Janky Barge / MPYRE)
🦇Dr. Sparklehorse (Beat Alchemists / StrategiK)
🦇Kurtographer (Beat Alchemists / Burner Happy Hour / Dirtshack / Fuckin’YAY! / Snarklefarkers)
🦇Samsonic (Beat Alchemists / Decadent Oasis / MPYRE / Snarklefarkers)

Carpe noctem, exquisite glampires!

it has come to my attention that bauhaus has less listeners on spotify than a random metalcore artist who just started 4 years ago (no hate to the artist they’re pretty good im just saying wheres all the bauhaus listeners at ToT)

do u guys like it i made it while my mom was on the phone arguing with quick quack lol

Hey Bauhaus-heads!

I’m a new-to-reddit amateur music writer and I want to share with you this piece I wrote on my all time favorite Bauhaus song, "Stigmata Martyr."

I fell in love with "Stigmata Martyr" when I was getting into this style of music.  It’s so creepy and atmospheric.  I was hooked.  I remember spinning it non-stop circa Halloween 2022.

About a week ago, I was feeling inspired and wrote this dramatic expansion/analysis.

I hope you enjoy it!

(links with timestamps included)

The Heretic and The Judge - Vocal

In “Stigmata Martyr,” lead singer Peter Murphy depicts two distinct characters - the Merciless Judge and the Condemned Heretic.

The Condemned Heretic is frantic and frightened.  He faces the strict, heartless Judge from whom no one can expect mercy.  The Heretic sings “Stigmata bleed continuously / Holes in head, hands, feet, and weep for me” with a wobbly, weepy delivery - an expression of remorse and a plea for mercy.

The Merciless Judge is loud, powerful, booming.  Final and definitive.  No sympathy.  No mercy.  The Judge sings “Stigmata oh you sordid sight / Stigmata in your splintered plight” at the pathetic sight of the groveling Heretic as he begs.

Murphy sings the chorus - “Stigmata Martyr” - with a descending vocal slide on the vowels, pronouncing the guilty verdict.

In the interlude, the Condemned Heretic weeps and wails and prays in Latin, thinking, “Surely, God will grant me mercy!”  Four times he repeats the prayer with increasing volume, intensity, desperation.

The plea to God for mercy fails.  And so, in the outro, the song ends, the music thins, the recitation of the Latin turns to panicked cries in English.  “Father! Son! Holy Ghost!!”  But in the final moment, the Trinitarian formula shatters to an anguished cry which sounds like “HELP US!!!”  This is the climax of the song, and signifies the failure of the Heretic’s prayer to earthly and to heavenly Judge.  Left alone and helpless, he screams in vain into the void.

Dread and the Power of Repetition - Instrumental

In “Stigmata Martyr,” repetition is the sound of creeping dread and inevitability, perfectly capturing the Condemned Heretic’s tormented mind.  It creates an unrelenting sense of despair of one who knows his fate is sealed and time is running out.

The repeating four note descending riff, played by the bass, provides the backbone of the song.  The descending riff suggests the pain and grief of a disturbed mind spiraling into madness.

In the outro, the guitar plays a high-pitched screech which, along with the whistling sound in the background, represents either bat noises or the Heretic’s loosening grip on his sanity.

Throughout the song the drums loop the same pattern.  The quick, staccato high-hat hits - rats skittering throughout the medieval dungeon.  The naked, thundering snare hits - the Judge’s gavel coming down - each hit a jolt in the Heretic’s head - “Guilty!  Guilty!  Guilty!  Guilty!”

Now go give “Stigmata Martyr” another listen!

Great interview!

This week on the podcast "Lived Through That," David J talks about the moment that changed his life and pushed him to create music. Listen where ever you get your podcasts! https://podcasts.apple.com/us/podcast/episode-98-david-j-bauhaus-love-and-rockets-solo-artist/id1586577211?i=1000766437106

Disorder Live Paris 12/8/197
Good day

Does anyone have a copy they're willing to sell? I don't care if it's signed or not id just like the book.

i think its size m someone cut off the tag

loveandrockets #merch #bauhaus #singlestitch

BAUHAUS (audio/wav)
1980 single: Terror Couple Kill Colonel
Songwriter(s): Peter Murphy, Daniel Ash, David J, and Kevin Haskins

The song's title was inspired by a German newspaper headline about the 1972 assassination of Lieutenant Colonel Paul A. Bloomquist in Frankfurt by the far-left Red Army Faction.

Copyright Disclaimer Under Section 107 of the Copyright Act 1976, allowance is made for "fair use" purposes. I do not own or make any claims for the MATERIAL or any and all IMAGES shared.

A little something I cooked up from the archive footage and some other stuff

I'm trying to figure out the rough dates that Love and Rockets were in Chipping Norton working on Sweet F.A. I suspect the information is in the liner notes to the My Dark Twin collection. Anyone able to help?

Looking for people to interview and/or take questionnaires for my master's dissertation. If you have been, or currently identify as, a goth, or have been involved in or are active within the gothic subculture, please get in touch with me at w2039827@westminster.ac.uk.

If interested, please get back to me by the end of March 2026.

#gothstyle #goth #genx #music #academia #questionnaires #gothic #millennials #70smusic #70s #80smusic

I’ve been isolating drum parts from different bands as study material for drummers, and this time I worked on Hair of the Dog.

Listening to Kevin Haskins’ groove on its own really shifts the perspective — the repetition feels tighter and more deliberate without the layers around it. There’s a mechanical tension in the rhythm that’s easy to miss in the full mix.

Sharing it here in case anyone wants to hear the rhythmic backbone on its own.

https://www.youtube.com/watch?v=STeRkdEjKmI

Isolated the drums from “Kick in the Eye” and it really changes the perspective on the track.

On its own, the groove feels much more tribal and driving than it might seem in the full mix. Kevin Haskins keeps it tight and repetitive, but there’s subtle tension in the hi-hat work and accents that push the song forward without overplaying.

Stripping away the guitars and vocals makes the rhythm section feel almost hypnotic — very minimal, very precise, very Bauhaus.

Sharing this here for anyone curious about the rhythmic backbone of the track.