生日派对（原名“隔壁的男孩”）是澳大利亚的朋克乐队，活跃于1978年至1983年。尽管在商业上取得了有限的成功，但生日派对的影响力却是深远的，他们被称为“在80年代初期出现了最黑暗，最具挑战性的朋克乐队。” 乐队的“凄凉而嘈杂的音景”无情地吸引了布鲁斯，自由爵士乐和摇滚乐，为歌手尼克·凯夫（Nick Cave）令人不安的暴力和变态故事提供了背景。作为哥特人，他们的单曲“ 释放蝙蝠 ”在新兴的哥特式场景中特别有影响力。
1980年，生日聚会从墨尔本搬到伦敦，在那里受到广播员John Peel的拥护。他们在伦敦的生活使他们失望，乐队的声音和现场表演变得越来越暴力。他们于1982年移居西柏林后不久就分手了。生日派对的创意核心–歌手兼词曲作者Nick Cave，多乐器演奏家兼词曲作者Mick Harvey，以及歌手，词曲作者和吉他手Rowland S. Howard –后来广受好评职业。
乐队的核心于70年代初在墨尔本郊区的私立男校Caulfield文法学校相识。1973年与尼克·凯夫（人声），米克·哈维（吉他）和菲尔·卡尔维特（鼓）组成摇滚乐队，约翰·科西维拉（John Cocivera），布雷特·珀塞尔（Brett Purcell）和克里斯·科恩（Chris Coyne）等其他学生（分别用吉他，贝斯和萨克斯管演奏）。大多数人也是学校合唱团的成员。乐队在派对和学校聚会上以各种名字演出，包括大卫·鲍伊，娄·里德，罗克西·音乐，爱丽丝·库珀和耸人听闻的亚历克斯·哈维乐队的曲目等等。萨克斯风演奏家克里斯·科恩（Chris Coyne）于1980年代加入了保罗·凯利乐队（Paul Kelly Band）。
1975年结束学业后，乐队决定继续以四人组合的形式继续演出，朋友Tracy Pew接管了低音。受1976年朋克爆炸的极大影响，澳大利亚乐队The Saints和Birdman进行了第一次录音和巡回演出，现在被称为“ 邻家男孩 ”的他们开始演奏朋克和原始朋克封面版本，例如“ Blitzkrieg Bop”和“ Gloria ”，以及几首原创歌曲。到1977年11月，他们的场景被快速的原始新浪潮素材所控制，例如“性犯罪”和“手淫一代”。
男孩乐队的第二吉他手罗兰·霍华德（Rowland S. Howard）于1978年加入，大约在这个时候，乐队的声音发生了巨大变化。霍华德吉他的加入无疑是一个催化剂（他后来使用音频反馈成为该小组的标志），但同时也发生了其他变化：他们的声音吸引了朋克，摇滚，爵士乐和最原始的布鲁斯，但简明扼要分类。许多歌曲是由著名的重复性低音线和狂热而简约的音乐所驱动，打鼓。尽管乐队进行了严格的排练，但乐器演奏者的声音听起来好像他们正处于崩溃的边缘，这种音质仅强调了洞穴音乐的新发现狂热和他的表现主义歌词。在生产商/工程师托尼·科恩（Tony Cohen）中，他们找到了愿意与他们进行实验并拒绝重复自己的同伴。在经理Keith Glass中，他们找到了热情的财务支持者。Glass的唱片公司Missing Link Records发行了所有早期生日聚会的唱片。
霍华德（Howard）创作并首次由他的乐队The Young Charlatans录制并录制的《邻家男孩》（Bois）歌曲《颤抖》（Shivers），由于提及自杀而被广播电台禁止。在澳大利亚录制唱片并取得一定成功之后（包括数百场现场表演），他们于1980年前往伦敦，更名为生日派对，并进入了一个充满创新和激进的音乐创作时期。一些消息人士说，乐队从哈罗德•品特（Harold Pinter）的戏剧“生日派对”中改名; 其他人（包括伊恩·约翰斯顿（Ian Johnston）的凯夫传记）指出，这是由凯夫误记或故意误称陀思妥耶夫斯基一个不存在的生日聚会现场的名字而引起的小说“ 犯罪与处罚”。在2008年的一次采访中，罗兰·霍华德（Rowland S. Howard）留下了自己的回忆：“生日聚会的名字出现在尼克和我之间的对话中。关于这个故事的一个诡计多端的故事来自陀思妥耶夫斯基小说。它可能有多种含义，但是他和我所说的是一种庆祝的感觉，使事情更多地成为一种场合和仪式。” 他们居住在伦敦，返回澳大利亚旅行，并穿越欧洲和美国，然后于1982年移居西柏林。
在几乎无法控制的球拍上方，凯夫的嗓音从绝望到险恶而疯狂。批评家写道：“ 约翰·凯尔（John Cale）或阿尔弗雷德·希区柯克（Alfred Hitchcock）都不是那么的恐怖”，凯夫（Cave）并没有唱出自己的声音，而是将自己的声音从肠道中驱逐出去。虽然凯夫（Cave）吸引了早期的摇滚尖叫者，尤其是伊基·波普（Iggy Pop）和自杀者的自杀者艾伦·维加（Alan Vega），但他与生日派对的演唱仍然有力而独特。他的歌词也借鉴了亚瑟·林波（Arthur Rimbaud）和查尔斯·鲍德莱尔（Charles Baudelaire）。
在哥特式场景的出现中出现了单曲“ Release the Bats ”。这首关于“吸血鬼性”的歌曲是由一则广告宣传的，字样是：“肮脏在反神的旁边”。
对于生日派对，情况发生了变化。卡尔维特于1982年被逐出；据报道，他“无法使所有人都满意的’死乔’节奏”，哈维转鼓。1982年初，皮尤因酒后驾车和小偷小摸而入狱时，克里斯·沃尔什（Chris Walsh），巴里·亚当森（Barry Adamson）和霍华德（Howard）的兄弟哈里（Harry）代替他参加现场表演和简短的工作室工作。皮尤（Pew）在7月重新加入乐队。
1983年1月的巡回演出发现该乐队恢复了五人制，Jeffrey Wegener演奏鼓，而Harvey返回第二吉他。韦格纳并没有留在小组中，但是不久之后他们又回到了四人制。那年下半年，来自德国乐队EinstürzendeNeubauten的Blixa Bargeld在工作室的“ Mutiny in Heaven”单曲中录制了吉他声。凯夫（Cave）和霍华德（Howard）之间的紧张关系很快就到了尾声，但哈维（Harvey）首先离开了乐队–他们的最后一次巡演看到了戴斯·赫夫纳（Des Hefner）鼓。生日派对于1983年底解散，部分原因是凯夫（Cave）和霍华德（Howard）之间的分裂，以及工作和与毒品有关的疲惫。
1992年9月1日，罗兰·霍华德（Rowland S. Howard）与尼克·凯夫（Nick Cave）和米克·哈维（Mick Harvey）一起在伦敦城乡乡村俱乐部的Bad Seeds NME慈善表演上登台演出，演出了《狂野世界》，《死乔》。 ”和“脱衣舞娘尼克”。
在某种程度上，由于其传奇般的地位以及尼克·凯夫（Nick Cave）和《坏种子》（Bad Seeds）的持续成功，生日派对的后部目录已多次在CD上发行。米克·哈维（Mick Harvey）监督了稀有唱片或以前未发行唱片的发行（Live和John Peel CD）。
罗兰·霍华德（Rowland S. Howard）于2009年12月30日因肝癌去世。在2012年，霍华德的早期歌曲在墨尔本进行了现场演唱，以致敬：一支由哈维，卡尔弗特，罗恩·鲁德和罗兰·霍华德的姐姐安吉拉组成的四人乐队。
The Birthday Party (originally known as The Boys Next Door) were an Australian post-punk band, active from 1978 to 1983. Despite limited commercial success, The Birthday Party’s influence has been far-reaching, and they have been called “one of the darkest and most challenging post-punk groups to emerge in the early ’80s.” The group’s “bleak and noisy soundscapes,” which drew irreverently on blues, free jazz, and rockabilly, provided the setting for vocalist Nick Cave’s disturbing tales of violence and perversion. Their music has been described by critic Simon Reynolds as gothic, and their single “Release the Bats” was particularly influential on the emerging gothic scene.
In 1980, The Birthday Party moved from Melbourne to London, where they were championed by broadcaster John Peel. Disillusioned by their stay in London, the band’s sound and live shows became increasingly violent. They broke up soon after relocating to West Berlin in 1982. The creative core of The Birthday Party – singer and songwriter Nick Cave, multi-instrumentalist and songwriter Mick Harvey, and singer, songwriter and guitarist Rowland S. Howard – later went on to acclaimed careers.
Early years and The Boys Next Door (1973–1978)
The nucleus of the band first met at the private boys school Caulfield Grammar School, in suburban Melbourne, in the early seventies. A rock group was formed in 1973, with Nick Cave (vocals), Mick Harvey (guitar), and Phill Calvert (drums), with other students John Cocivera, Brett Purcell and Chris Coyne (on guitar, bass and saxophone respectively). Most were also members of the school choir. The band played under various names at parties and school functions with a mixed repertoire of David Bowie, Lou Reed, Roxy Music, Alice Cooper and the Sensational Alex Harvey Band, among others. Saxophonist Chris Coyne went on to join the Paul Kelly Band in the 1980s.
After their final school year in 1975 the band decided to continue as a four-piece group, with friend Tracy Pew picking up the bass. Greatly affected by the punk explosion of 1976 which saw Australian bands The Saints and Radio Birdman making their first recordings and tours, The Boys Next Door, as they were now called, began performing punk and proto-punk cover versions, such as “Blitzkrieg Bop” and “Gloria”, and a few original songs. By November 1977 their set was dominated by fast original new wave material, such as “Sex Crimes” and “Masturbation Generation”.
The Boys’ second guitarist, Rowland S. Howard, joined in 1978, and about this time, the group’s sound changed dramatically. The addition of Howard’s guitar was certainly a catalyst (his later use of audio feedback being a hallmark of the group) but there were other changes, as well: their sound drew upon punk, rockabilly, free jazz and the rawest blues, but defied concise categorization. Many songs were driven by prominent, repetitive basslines and frenetic, yet minimalist, drumming. Though the band was tightly rehearsed, the instrumentalists often sounded as if they were on the verge of collapse, this quality only emphasising the newfound mania of Cave’s singing, and his expressionist lyrics. In producer/engineer Tony Cohen they found a willing accomplice to their experimentation and their refusal to repeat themselves; and in manager Keith Glass they found an enthusiastic financial backer. Glass’ label Missing Link Records released all of the early Birthday Party records.
Name change and relocations (1978–1982)
The Boys Next Door’s best known song, “Shivers”, written by Howard, and first performed and recorded by his band The Young Charlatans, was banned by radio stations because of a reference to suicide. After recordings and moderate success in Australia (including hundreds of live shows) they headed for London in 1980, changed their name to The Birthday Party and launched into a period of innovative and aggressive music-making. Some sources say the band took its new name from the Harold Pinter play The Birthday Party; others (including Ian Johnston’s Cave biography) state it was prompted by Cave misremembering, or intentionally misattributing, the name to a non-existent birthday party scene in the Dostoyevsky novel Crime and Punishment. In a 2008 interview, Rowland S. Howard gave his own recollection: “The name The Birthday Party came up in conversation between Nick and myself. There’s this apocryphal story about it coming from a Dostoyevsky novel. It may have had various connotations, but what he and I spoke about was a sense of celebration and making things into more an occasion and ritual”. They resided in London, with trips back to Australia and tours through Europe and the U.S. before relocating to West Berlin in 1982.
Above the barely-controlled racket, Cave’s vocals ranged from desperate to simply menacing and demented. Critics have written that “neither John Cale nor Alfred Hitchcock was ever this scary,” and that Cave “doesn’t so much sing his vocals as expel them from his gut”. Though Cave drew on earlier rock and roll shriekers—especially Iggy Pop and Suicide’s Alan Vega—his singing with the Birthday Party remains powerful and distinct. His lyrics also drew on Arthur Rimbaud and Charles Baudelaire.
The single “Release the Bats” came out during the emergence of the gothic scene. This song about “vampire sex” was promoted by an advertisement with the words “Dirtiness is next to antigodliness”.
Their 1982 album Junkyard was inspired by American Southern Gothic imagery, dealing with extreme subjects like an evangelist’s murdered daughter.
Final years (1982–1983)
For The Birthday Party, things had changed. Calvert was ejected in 1982; he was reportedly “unable to nail down the beats for ‘Dead Joe’ to everyone’s satisfaction”, and Harvey moved to drums. When Pew was jailed for drunk driving and petty theft early in 1982, Chris Walsh, Barry Adamson and Howard’s brother Harry replaced him for live appearances and brief studio work. Pew rejoined the band in July.
The Mutiny EP contained lyrics evoking blasphemy, words which were as dark as the gothic poems of Lautréamont. The title track portrayed a dirty heaven with rats and trash.
In 1982 a spin-off group with Lydia Lunch, Honeymoon in Red, recorded an album which was eventually released in 1987. Harvey and Cave were reportedly so unhappy with the mixing and overdubbing done after their involvement that they requested their names be withheld from its liner notes. Howard and Pew apparently had no objections to being credited by name.
A tour in January 1983 found the group return to a five-piece, with Jeffrey Wegener playing drums and Harvey returning to second guitar. Wegener did not remain with the group, however, and they returned to a four-piece soon after. Later that year, Blixa Bargeld from the German group Einstürzende Neubauten recorded a guitar part in the studio on the track “Mutiny in Heaven”. Tension between Cave and Howard soon came to a head, but it was Harvey who first left the group – their final tour saw Des Hefner on drums. The Birthday Party disbanded in late 1983, due in part to the split between Cave and Howard, as well as work and drug-related exhaustion.
Post-breakup, legacy and influence
Several groups rose from The Birthday Party’s ashes: Nick Cave and the Bad Seeds (featuring Cave, Harvey, Adamson, Bargeld and briefly Pew), Crime and the City Solution (featuring Harvey and Howard, later just Harvey) and These Immortal Souls (featuring Howard).
Pew died from injuries caused by an epileptic seizure in 1986.
On 1 September 1992, there was a brief Birthday Party reunion as Rowland S. Howard joined Nick Cave and Mick Harvey on stage at a Bad Seeds NME charity show at the Town and Country Club in London to play “Wild World”, “Dead Joe” and “Nick the Stripper”.
Due in part to their legendary status and to the continuing success of Nick Cave and the Bad Seeds, The Birthday Party’s back catalogue has been re-released on CD several times. Mick Harvey has overseen releases of rare or previously unissued recordings (Live and John Peel CDs).
The Birthday Party’s initial impact was on the gothic rock genre. According to New Musical Express, “The Party have been indirectly held responsible for the rise of a visceral new hardcore, ranging from The Sex Gang Children, through Danse Macabre to March Violets.” Rock acts that have cited The Birthday Party as an influence include My Bloody Valentine and LCD Soundsystem.
In October 2007, Cave alone was inducted into the ARIA Hall of Fame. During his acceptance speech, Cave took it upon himself to ‘induct’ the Australian members of the Bad Seeds (including Harvey), plus Howard and Pew from The Birthday Party.
Rowland S. Howard died on 30 December 2009 of liver cancer. In 2012 Howard’s early songs were played live as a tribute in Melbourne: a four-piece band played consisting of Harvey, Calvert, Ron Rude and Rowland Howard’s sister Angela.
1979 – Door, Door (The Boys Next Door)
1981 – Prayers on Fire
1982 – Junk Yard
1983 – Mutiny , The Bad Seed E.P
1989 – Hee-Haw
1991 – Drunk On The Pope’s Blood
1992 – Hits
1999 – Live 81-82
2001 – The John Peel Sessions