It’s June, 1999, or thereabouts. I’m sixteen years of age. I’m in a nightclub for the first, perhaps second time in my life. The nightclub is called Spiders, and it’s located on the edge of an industrial estate in Hull. The air as my friends and I queue up outside is foul with burnt cocoa fumes wafting from a neighbouring factory. The smell inside the club is worse.
So this dropped through my letterbox today. The curiously titled “The Cure [IN GREAT BIG LETTERS] and the story of the alternative 80s.” [in apologetically small, non-descript, genre avoiding letters].
It’s a potted history of Goth (the Cure don’t even really get any extra coverage), with new interviews and good, in-depth articles. This is definitely not as gritty as Mick Mercer’s excellent Gothic Rock (still available through LuLu, and highly recommended), but it seems like a pretty good intro. It does have a lot of really nice photos, many I haven’t seen before.
I posted previously about this enigma of a band – one short LP in the last 28 years [profile | miniscule discography] – when the new EP “InGladAloneness” finally had a release date. Well, it’s here and it’s a mixed bag. But mainly good, I think.
It is, of course, oh too brief. A mere five tracks not even hitting 20 minutes. Surely there were some remixes or out-takes which could have been included. The artwork, typography and booklet is lovely, and it is this kind of artwork which reminds me of why vinyl, and record cover’s large surface areas, were essential.
This release both excites and concerns me. I love Bauhaus. Along with the Sisters they define the goth sound, and image, for the early 80s. I love Japan, again seminal although this time for the emergence of the New Wave movement. Japan split in 1982 and Bauhaus in 1983 (with both bands at the peak of their influence and popularity) so when, in 1984, Peter Murphy (singer for Bauhaus) and Mick Karn (bass player for Japan) announced they would be forming Dalis Car everyone waited with bated breath.
The result was, err, interesting. Their only LP “the Waking Hour“, comprised a brief seven tracks of art-house, fretless bass-driven art-pop. There are some good bits, but there is also some filler where there was really room for none. It has no edge – disappointing given the potential of the ingredients. The general feeling was that this was a curio, a taster for something better. But nothing else came and we all assumed Dalis Car had come to a natural conclusion.