![\"bauhaus.jpg\"](\"https:\/\/www.johncoulthart.com\/feuilleton\/wp-content\/uploads\/2007\/10\/bauhaus.jpg\")
<\/p>\n<\/p>\n
A follow-up to last year’s list<\/a>. Seeing as Joy Division are very much in the news at the moment with the release of Control<\/em><\/a> and the re-issue of the albums, I thought a post-punk theme would be appropriate. The period which immediately followed punk in the late Seventies saw a lot of doom being imported into what was then still a proper alternative to the mainstream of popular music. This trend quickly ossified into the distinct and far less adventurous genres of goth and post Throbbing Gristle\/Cabaret Voltaire industrial but between 1978 and 1982 everything was in a state of fascinating flux.<\/p>\n Hamburger Lady (1978) by Throbbing Gristle.<\/strong> 6am (1979) by Thomas Leer & Robert Rental.<\/strong> Bela Lugosi’s Dead (1979) by Bauhaus.<\/strong> Day Of The Lords (1979) by Joy Division. <\/strong> James Whale (1980) by Tuxedomoon.<\/strong> Halloween (1981) by Siouxsie & the Banshees.<\/strong> Goo Goo Muck (1981) by The Cramps.<\/strong> Raising The Count (1981) by Cabaret Voltaire. <\/strong> Gregouka (1982) by 23 Skidoo.<\/strong> The Litanies Of Satan (1982) by Diamanda Gal\u00e1s.<\/strong> Happy Halloween!<\/p>\n Previously on { feuilleton } A follow-up to last year’s list. Seeing as Joy Division are very much in the news at the moment with the release of Control and the re-issue of the albums, I thought a post-punk theme would be appropriate. The period which immediately followed punk in the late Seventies saw a lot of doom being imported … Continue reading “Another playlist for Halloween”<\/span><\/a><\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"_jetpack_newsletter_access":"","_jetpack_dont_email_post_to_subs":false,"_jetpack_newsletter_tier_id":0,"_jetpack_memberships_contains_paywalled_content":false,"_jetpack_memberships_contains_paid_content":false,"footnotes":"","jetpack_publicize_message":"","jetpack_publicize_feature_enabled":true,"jetpack_social_post_already_shared":false,"jetpack_social_options":{"image_generator_settings":{"template":"highway","default_image_id":0,"font":"","enabled":false},"version":2},"jetpack_post_was_ever_published":false},"categories":[29,22,3],"tags":[3652,150,1392,250,172,6733,1693,1886,2002,8705,1151,213,8729,2001,512,1611,185,190],"class_list":["post-2525","post","type-post","status-publish","format-standard","hentry","category-electronica","category-horror","category-music","tag-bauhaus-group","tag-cabaret-voltaire","tag-diamanda-galas","tag-frankenstein","tag-ghost-box","tag-ian-curtis","tag-james-whale","tag-joy-division","tag-robert-rental","tag-siouxsie","tag-siouxsie-the-banshees","tag-the-cramps","tag-the-seance","tag-thomas-leer","tag-throbbing-gristle","tag-tuxedomoon","tag-voodoo","tag-white-noise"],"jetpack_publicize_connections":[],"jetpack_featured_media_url":"","jetpack_shortlink":"https:\/\/wp.me\/pq7rV-EJ","jetpack_sharing_enabled":true,"_links":{"self":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2525","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/comments?post=2525"}],"version-history":[{"count":0,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/posts\/2525\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/media?parent=2525"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/categories?post=2525"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.johncoulthart.com\/feuilleton\/wp-json\/wp\/v2\/tags?post=2525"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}
\nTG’s heart-warming ode to a burns victim.<\/p>\n
\nLeer and Rental’s The Bridge<\/em> album was originally one of the few none-Throbbing Gristle releases on TG’s Industrial label, one half songs, the other moody electronic instrumentals. 6am<\/em> perfectly conjures a picture of empty streets at dawn and sounds like a precursor of Ennio Morricone’s score for The Thing<\/em><\/a>.<\/p>\n
\nThe first Bauhaus single and the only song of theirs I liked. Put to great use at the beginning of the otherwise pretty risible The Hunger<\/em><\/a>.<\/p>\n
\nIf anything shows that Ian Curtis was a Romantic in the 19th century sense, it’s this grandiose wallow in the atrocities of history. \u201cWhere will it end?\u201d<\/p>\n
\nChurch bells toll and a lonely violin shrieks for the director of the Universal Frankenstein<\/em> films.<\/p>\n
\nWith a title like that, how could it not be included here?<\/p>\n
\nAlways superior collagists of rockabilly weirdness and early garage riffs, The Cramps started out in the horror camp (\u201ccamp\u201d being a big part of their act) with the Gravest Hits<\/em> EP. Goo Goo Muck<\/em> was a cover of a great single by (I kid not) Ronnie Cook & the Gaylads<\/a>. \u201cWhen the sun goes down and the moon comes up \/ I turn into a teenage goo goo muck.\u201d<\/p>\n
\nAn obscure moment of resurrection originally on the Rough Trade C81<\/em> cassette compilation from the NME<\/em>.<\/p>\n
\nGregorian monks meet Moroccan pipes and drums with the result sounding like a voodoo ceremony taking place in cathedral catacombs.<\/p>\n
\nThe formidable Ms Gal\u00e1s was part of last year’s list and her first album is just as hair-raising<\/a> as her later works. The second part is the marvellously titled Wild Women With Steak-knives (The Homicidal Love Song For Solo Scream)<\/em>.<\/p>\n
\n\u2022 White Noise: Electric Storms, Radiophonics and the Delian Mode<\/a>
\n\u2022 The S\u00e9ance at Hobs Lane<\/a>
\n\u2022 A playlist for Halloween<\/a>
\n\u2022 Ghost Box<\/a><\/p>\n","protected":false},"excerpt":{"rendered":"