Beggars Banquet Records

Yet, rather than leading into radio-friendly pop concessions for their next move, they decided to plunge headfirst back into the sinister, the strange, and the deeply unconventional.

This was their next single, released on January 15th, 1983, on Beggar's Banquet Records.

This is La Cartilla Nick.

If that track felt like a frantic reptilian assault on your senses, its backstory explains why.

This included an early version of Fat Man alongside tracks like Today, False Faces and All Glory.

By late 1982, the band signed with Situation 2, an offshoot label of Beggar's Banquet.

On November 15th, 1982, they officially released their double A-side single, Moya and Fat Man, produced by Mick Glossop.

The single was a massive independent success, skyrocketing straight to number one on the UK indie chart.

He famously interpolates a direct, echoing nod to the Who's rock opera Tommy during the bridge, chanting, Tommy, can you hear me? Despite topping the indie charts and touring with major post-punk luminaries like Bauhaus and Theatre of Hate, the volatile chemistry of the band couldn't hold.

Ian Asprey abruptly dismantled the Southern Death cult in February 1983 after a final show in London.

Beggar's Banquet posthumously released a self-titled compilation album on June 3rd, pulling together the Moya Fatman single tracks, the John Peel sessions and live bootlegs to preserve the band's brief legacy.

After the split, the rest of the band formed Getting the Fear, while Asprey moved to London and teamed up with the man who lent them the guitar, Billy Duffy.

The Cult's Electric album is released.

Rick Rubin produced that, but it was released on Sire slash Beggar's Banquet.

It was not a Def Jam release.

1988.

Bauhaus' success from their debut album was so great that for the band to create their next album, their needs were more than the resources of the record label 4AD.

So the band moved to 4AD's parent label, Beggars Banquet Records.

Early 1981 saw the band begin working on album number two.

When the band started working on the songs for the album, the sound was already moving in a new direction with a broader, diverse, and more experimental approach to the music.

All of this resulted in an album that would reveal the ambitious, mature, and more accessible musical direction without abandoning the dark core of the music.

The band strived to be different and did not want to fall into the category of a traditional rock band.

On the new label, Bauhaus released Kick in the Eye in March of 1981 as its debut release on Beggars Banquet.

The single reached number 59 on the charts.

I think our, I mean my generation.

I'm talking about the beginning of '90s, the end of '80s when there was a few guys in the national Radio 3, and they started to present the good side of the independent music like 4AD, Beggars Banquet, you know, all the Joy Division things.

And then we all became a goth, fans of The Cure, you know, Dead Can Dance, 4AD, all this stuff.

But also there was a few guys in the national radio who took care of, you know, the, the goods, the, the, the good side of the music.

Wow.

A funny story, because I was, then I worked for the records company.

We were, we were the Polish distribution of Meat Records, Beggars Banquet, V2, Varese Sarabande, Epitaph.

The great, great, g- great basket, you know? A fantastic roster.

Everything was written on guitar.

And so when I discovered the synthesizer in the studio, when we were supposed to be recording our – debut punk album for Beggar's Banquet.

I never played a kid before, really, apart from plunking around in my nans when I was a kid.

And so I had no ability with it whatsoever.