by Ned Raggett
More fragmented in origin than it might appear on first glance -- the leadoff track, a phenomenal, nuclear-strength rip through Brian Eno's &Third Uncle,& featuring some fantastic soloing from Ash, came from a BBC radio session performance -- The Sky's Gone Out was caught between the expectations of an audience now thoroughly embracing the incipient goth genre, with all the built-in limitations such expectations often provide, and a band which wanted to please them while still following its own muse. On balance it's quite a fine album, but unlike Mask it misses the infusion of a more positive energy, and simply doesn't gel as perfectly, more notable for individual songs than as a whole. Old, pre-recording-career songs like the strong but already dated &In the Night& were revived and balanced against experiments and attempts to further develop the band's sound, ultimately making The Sky's Gone Out feel more like a compilation than anything else. Piece by piece, though, the songs still often showed Bauhaus in excelsis. Ash's elegant, haunting acoustic guitar work received two great showcases -- &Silent Hedges,& adding a more familiar electric explosion to a fine Murphy performance detailing a desperate mental collapse, and &All We Ever Wanted Was Everything,& a sympathetic, nostalgic reflection on dreams of the past, again matched by a perfectly balanced Murphy vocal. Other standouts include the brooding lope of &Swing the Heartache,& with a skeletal rhythm matched against some of Ash's best guitar work, and &Spirit,& a live standout inspired by the performance vibe the band received from its fans.