Both factions (by pure coincidence) signed to the new Red Ant Entertainment label, originally to pursue separate interests (namely, Murphy would release the Recall EP through collaboration with members of KMFDM while Love and Rockets would release a series of singles and a new album, Lift). While recording songs for Lift, J received a seemingly random fax from Murphy (not so random as it seemed to be a response to recent interviews where it was suggested that Murphy’s only contribution to Bauhaus was as a vocalist as opposed to having written lyrics and contributing instrumental portions as well). This prompted a dialog between managers sifting out whether a Bauhaus reunion would be a possibility to investigate. By the end of summer 1997, it was official – Bauhaus were to reunite, begin rehearsing, and launch into a tour in 1998, the ‘Resurrection’ Tour.
The initial 3 dates (all at the Hollywood Palladium) sold out in fifteen minutes, proof of their lasting legacy if ever any were needed. The Resurrection Tour lasted several months and spanned multiple countries – the US, Japan, and across Europe. Following the incredibly successful tour, talk began about possibly recording a new album, what would have been the first in fifteen years. A couple of sporadic one-off recording sessions led to their covering of Dead Can Dance’s Severance (previewed during the tour) and later new original The Dog’s A Vapour (included on the Heavy Metal 2000 soundtrack). In spite of tensions between Murphy and Ash, the group felt these recording sessions were positive experiences. This prompted J to send a mix CD/DVD to producer Tony Visconti to inquire about working with him on this new venture. However, as time wore on, the tensions felt in the studio mixed with the fact Love and Rockets had just released Lift but had yet to tour it resulted in the idea being scrapped. Bauhaus was again, for the time being, placed back in its red velvet lined black box.