Tones On Tail - Christian Says 12''

"Christian Says" by Tones on Tail is widely regarded as a standout, aggressive, and moody gothic rock track, often considered a peak moment for the post-Bauhaus band. Released as a 12'' single (coupled with "Twist"), it is praised for its menacing, dance-influenced, and experimental sound that features Daniel Ash’s signature guitar work.

Two terrific songs, neither of which appeared on ToT's Pop album. "Christian Says" is my favorite Tones on Tail song period; it's the slightly more menacing and aggressive of the two cuts here, sounding like something that could have appeared on In the Flat Field even. "Twist" is ethereal and mysterious, whimsical even, keeping in line with the experimental nature of the unfortunately short-lived post-Bauhaus project. Daniel Ash's guitar playing is just phenomenal.

Tones On Tail - Burning Skies 12''

Tones on Tail was a Post-Punk side project by Bauhaus guitarist Daniel Ash, composed of him with friend Glenn Campling and later Bauhaus drummer Kevin Haskins. The group took Bauhaus' gloom and doom and warped it into what they called "doom-and-dance-pop", fusing several different styles and sounds together into a unique take on Post-Punk and New Wave Music. The Burning Skies 12” careens from languid, whispered rock to jumpy light funk to spare atmospheric soundtracks, and offers very little song writing content, merely scanty ideas in service of largely pointless studio fiddling.

Again, this wouldn’t be the first entry point into Tones On Tail that I would recommend, although it’s place is reserved due to it being the entry point for Kevin Haskins and the band becoming a trio it is still very much experimental in its appearance.

Tones On Tail - There's Only One 12''

Tones on Tail was a British post-punk band formed in 1982, originally as a musical side project of Daniel Ash of Bauhaus. Their music was described by one critic as "doom-and-dance-pop. While still a member of Bauhaus, Ash formed Tones on Tail early in 1982, originally as a duo with art school friend, flatmate and Bauhaus roadie Glenn Campling. The band's name was a reference to the way calibration tones were recorded on the "tail" of reel-to-reel tape. Fuelled on a steady diet of hash and Big Macs, this musical offshoot became the psychedelic and light-hearted antithesis of Bauhaus' gloom and doom reputation. The pair issued their debut eponymous 12”EP on 4AD in March 1982, followed by the 12” single "There's Only One!” released by Beggars Banquet Records on 24 September.

Tones On Tail - Tones On Tail 12''

If you're a Bauhaus fan, then Tones On Tail are probably already on your radar as they were the brainchild of Bauhaus’s guitarist Daniel Ash (vocals, guitar, synths, sax, hair spray) along with school friend and Bauhaus roadie Glen Campling (bass, keyboards).  They formed in 1982 and when Bauhaus imploded in 1983 Kevin Haskins joined TOT on drums.

Tones on Tail always struck me as being a release valve for Daniel Ash.  Bauhaus were dark and intense whereas Tones On Tail is light and frothy – almost poppy – but always challenging and edgy.  Think pop music by David Lynch.  They didn’t last long; a clutch of singles and a solitary studio LP… plus about 30 compilations all mixing up the same stuff.  These were accompanied by a short UK/US tour, and whoosh – they were gone.

The Tones On Tail 12" EP was released pre Kevin Haskins, and is a really minimal electro/funk bass thing with a drum machine blipping away in the background.  The later TOT stuff was much more “normal” in terms of song structures whereas this early stuff (pre first LP) is much more experimental/abstract.

The opening track “A Bigger Splash” sees the beatbox on full bosa nova duties with Campling hammering out a single reverberated funk riff over and over and over. Over this Ash delivers the words monotonously & atonally.  The chorus is a woodblock solo and, when the guitar does arrive, it is effect-ville panning all over the shop.

“Copper’s” riff is ripped of Day Tripper and gives Ash the opportunity to get his sax out.  There is no singing.  “Means of Escape” is another minimal drum/funk bass workout with Ash whispering the vocals.  “Instrumental” is really nice – laid back funk bass with wide acoustic guitars over the top (think Bauhaus’s Passion of Lovers or Slice of Life).

It wouldn’t be the first Tones On Tail I would recommend, but it’s not a bad debut.

Tones On Tail - Night Music

Tones on Tail was a side project of Bauhaus guitarist Daniel Ash, formed in 1982 with bassist Glenn Campling. Kevin Haskins, also from Bauhaus, joined on drums after the band's initial breakup in 1983. The band's music is characterized by its diverse influences, including psychedelic, surrealist, and gothic rock elements, with a focus on creating distinct sounds for each song. They disbanded in 1984, with Ash and Haskins going on to form Love and Rockets.

"Night Music" compiles 16 tracks, including most of their "Pop" album, half of their self-titled EP, and the single "Go!". The compilation also includes a live version of "Heartbreak Hotel" (though some reviews criticize its quality) and an interview with Ash. The band's distinctive sound is evident in tracks like "Lions," with its samba feel and fuzzy bassline, and "Performance," with its catchy, dark shimmer. "Slender Fungus" is noted for its bizarre lyrics and percussion, while "Rain" is praised for its ambient and atmospheric qualities.

While "Night Music" is a good compilation, some reviewers suggest that the "Everything!" compilation is a better value, as it includes all of the material from "Night Music" plus additional tracks and better sound quality. 

  

Tones On Tail – Pop

The trio's one actual album is an impressive, wide-ranging effort collaging a range of influences into an inspired, often unpredictable experience. With their former band's generally gloomier shadows left behind, what Daniel Ash and Kevin Haskins draw from their time with Bauhaus is that group's melange of styles; their most underappreciated strength. Ash, with his breathy purrs and slinky all-around singing, works absolute magic on the quieter numbers, while more strident pieces like the nervous tension of "War" benefit from his abilities at more upfront projection as the need arises. Glen Campling isn't quite as strong a bassist as, say, David J, but he is more than fine. In the simple but effective work he does on the opening "Lions," for instance, his deep, fuzzy but not fuzztone effort locks the samba feeling of the song into place perfectly. Haskins, meanwhile, is as in form as Ash, offering up everything from minimal tapping and textures to full-bodied slams. Variety is clearly the spice of Pop's life; the goofy, jazzy swing of "Happiness" and catchy, dark shimmer of "Performance" are miles from "Real Life" and its brittle, bitter acoustic/electric sentiments. Though one could call the album schizophrenic in form, it's all still clearly the work of one group with a set vision rather than a bunch of musicians chasing after any number of styles. One of the most hilarious, truly trippy songs ever recorded by anyone is right in the album's middle -- "Slender Fungus" -- consisting of Ash's nonsense main lyric, weirdly soothing backing vocals, and an utterly strange percussion loop that sounds like people clicking their tongues more than anything else. Pop ends on a fine high note with the ambient-into-slow-paced-rock of "Rain." Ash's crooning has rarely been finer, while the sheets of organ and e-bowed guitar that introduce and then continue throughout the song are as atmospheric as it can get.