Mojo/Record Collector

'Jesus! What a show. The best I have seen from him solo.
He really seemed up for it beyond duty and when he lost
control of his spin and trashed the drum kit in Lust For Life
it was a great moment! As for the pole, is that a metaphor
for leading the fans back to the promised land? '

Ian Shirley

EMI

Thank you sooooo much for last night - Pete was magnificent,
I would say even more of a performance than the Bauhaus
reunion I saw. Musically I have to admit to being a ignoramus
on the solo front, but I was often very moved and got far too
excited.

Sarah Watson

Record Collector
Peter Murphy Scala, London Front left of stage - stake driving range

Two songs in and he's already toying with the bass player and is soon wielding a six foot bamboo stave like some Goth Moses leading the faithful back to the promised land. Even sailing towards a half century of years Peter Murphy remains one of the most compelling, mesmerising live performers to ever tread the boards. Still outrageously good looking - the Terence Stamp of rock - he now sports blonde hair quaffed into a spike and sings with Mercury-esque operatic power. Promoting new solo album Unshattered Murphy draws generously from this new well with songs like Idle Flow transmitted to a small but totally zealous audience. Tracks from his eclectic solo back catalogue are mined with glee ranging from Gliding Like A Whale, Deep Ocean Vast Sea to a one song duet with support act Sarah Fimm with on Huuvola. Although the audience are gagging for Bauhaus numbers none are forthcoming although every move is pure Bela. However, during four encores Murphy attacks Iggy's Lust For Life with such abandon that during a ten turn spin he topples into and destroys half the drum kit but is up and singing again within seconds. Cuts You Up detonates like an atomic bomb.

Ian Shirley

CLASSIC ROCK
Peter Murphy Interview

The Count, yet again, awakes. Pale and skinny ex-Bauhaus frontman Peter Murphy is just about to release his tenth and most accessible solo album to date, Unshattered. A long time resident of Turkey and a practising Moslem. Murphy has temporarily shelved a lot of his Middle Eastern influences in favour of an intriguing mix of heavy biblical rockers reminiscent of his old group and lush Scott Walker-style ballads. Classic Rock catches up with him in LA, where he is preparing a world tour and planning a one-off Bauhaus concert in the California desert town of Coachella.

Some of the musicians who appear on your new album - among them Eric Avery and Stephen Perkins, both of Jane's Addiction - may be a surprise to some readers. How did you meet them?

PM: Eric was in my live band during the 2000 tour, and he asked to be in the band. I didn't really know who he was apart from the fact that he was the bass player in some sort of Bauhaus-influenced young Californian band called Jane's Addiction [laughs] and everyone was saying: 'You've got to work with him. You've got to work with him'. And I was actually like: 'Why? But actually it has worked out really well. And he's a lovely guy. I wanted to capture the band that were working so well on that tour for this new record and we ended up recording a couple of songs together. Steve Perkins was a friend of Kevin Haskins [Bauhaus drummer] at the time of the Bauhaus reunion. I went to see him play with his Stooges cover-version band and he was the most passionate and tight drummer that I'd seen in ages. He was almost like the Keith Moon type but without the lunacy. He offered to play on a couple of tracks and I was really happy about that.

Kevin is on the album and you're reforming Bauhaus for a one-off show in Coachella. How do you all get on these days?

PM: There has always been a very good chemistry between us and a very definite head on our shoulders. We haven't met up to play yet but we'll wait and see. We've also made a policy not to actually talk about Bauhaus now, just to be it instead. We're not trying to censor you, we're trying to censor ourselves. We don't want to be seen to be selling ourselves. We're not touring, but I'm coming over in June for a full-blown solo tour after years and years of only playing London and Manchester and I'm really happy about that.

It is a good few years since you converted to Islam. How has this affected your song writing? Being an artist is very Islamic in itself.

PM: When I write I tend to look back on subject matter and it is often very existential, esoteric or poetically internalised. It does influence my work but not in terms of censorship. I suppose the way it helps is that I'm getting to know myself more and more. When I know myself, I will stop because there will be no more reason to keep on asking questions, and therefore asking also writing and performing.

Hopefully you don't find yourself too quickly; I can't see you spending the next few decades playing golf, somehow.

PM: I did play golf once, actually. I found it too hard to hit the ball. It was a nice walk though. When people ask me what I want, I always think that I don't need anything because I've already got what I want. But what I would really like is a horse. I've never owned a horse. I rode one once and I loved it. What is great about Turkey is the fact that the land isn't partitioned off, so I could just take off and ride. Obviously I couldn't just ride around the city on a horse but having a horse and having a one-off relationship with a horse is something I really want to do. [laughs uproariously].

That sounds much better than playing golf with Alice Cooper.

PM: It does, doesn't it.

by John Doran

WHISPERIN & HOLLERIN
Unshattered review

If, like this writer, you go back 25 years with legendary front man Peter Murphy, you may initially have difficulty in equating the idea of a sublime 'pop' album with the man often charged with unleashing the forces behind the dreaded Goth movement during the 1980s.

But there again, for all the mascara pretension, leather trousers and bizarre hairstyles, the whole pathetic goth thing is often accredited to three influential men and one woman (Robert Smith, Nick Cave, Siouxsie Sioux and Murphy) who - lest we forget - were actually making tremendously adventurous alternative rock music long before the god awful G word was coined as a buzzword and dorks like The Mission, Specimen and Fields of The Naff (er, Neph, sorry) hijacked it for their own clueless gain. If you think I'm barking, spend a day or two with fantastic records such as 'Faith', 'Tender Prey', 'The Scream' and 'In The Flat Field' and maybe you'll realise why I have a problem with talents such as these being lumped under the Goth umbrella.

The moral of this rant is that the convenient tags we use for comparison day in and day out are at best lazy and often inaccurate and don't allow an artist to grow in the wider sense. Yes, I loved (and still love) Peter Murphy's work with Bauhaus but over twenty years later I - for one - am delighted he continues to strike out for pastures new and isn't attempting to rewrite 'Bela Lugosi's Dead' for the five hundredth time.

Indeed, invest even cursory interest in Murphy's solo career and you'll unearth diverse albums such as 'Holy Smoke', 'Deep' and 2002's avant-garde 'Dust', a record steeped in the personal experience of Murphy's life in his adopted home town of Istanbul. All of these records are well worthy of investigation but only after you've first got your hands on 'Unshattered' - a consistently impressive new studio album that finds Murph embracing a lighter, more philosophical tone and creating that sublime pop record I hinted at earlier.

And you might be surprised, but it really suits him at this juncture. Recorded predominately in LA with contributions from Stephen Perkins, Eric Avery (both Jane's Addiction), Bauhaus's Kevin Haskins, long-time Murphy acolyte Paul Statham and producer Gardner Cole (Madonna), 'Unshattered' presents eleven warm and polished tunes - many of which would sound good barrelling out of a radio close to you - without sacrificing Murphy's trademark enigma factor.

Opener 'Idle Flow' gives you some idea of what to expect from the album. It's stealthy, insistent and (naturally) dramatic with Murphy's fabulous dark croon (yes, he still flirts with Bowie a tad) as instantly recognisable as ever. Clearly, he's in viciously good vocal nick but musically the anthemic backdrop also fits surprisingly effectively. Indeed, as you proceed, you soon realise it's assured pop appeal is no red herring either. Songs like 'Piece Of You' and 'Face The Moon' are warm, tender and satisfying affairs. 'Emergency Unit' is a slow-burning slice of excellence and 'Kiss Myself' positively basks in its radio-friendly confidence, making room for acoustic guitars, accordion and harmonica.

Indeed, it wouldn't be too presumptuous to suggest it sounds like an across-the-board-hit waiting to happen.

Of course, it's probably inevitable with musicians like Perkins and Avery on board that the urge to rock does come into play and when 'Unshattered' veers into songs like 'Blinded Like Saul' and 'The First Stone', the guitars do indeed take a turn for the dense and gnarly. Nonetheless, a fine team effort ensures the increased heaviosity doesn't destroy the mood and sensibly the supporting cast still take care to give Murohy's vocal plenty of space.

The album's closing track, 'Breaking No Ones Heaven' is the one place where 'Unshattered' begins to hark back to 'Dust''s more avant-garde feel, with its Middle Eastern textures and Murphy's initial spoken-word dialogue.

Shortly, though, it's blossomed into another sublime moment hung upon a plaintive chorus ('The simple love I give to you is breaking non-one's heaven') before tailing off into a strange, disconnected dub that's very much the exception rather than the rule where this disciplined platter's concerned.

But really 'Unshattered' is an impressively effective and affecting album which ensures cherry picking tracks becomes rather unnecessary after a few listens. It's commercially glossy and expansive stuff, but never less than substantial either and suggests Peter Murphy's emergence into the light after so many years harnessing the forces of darkness has been well worth waiting for. If this is what his new-found positivity can achieve, long may he continue to keep the shadows at bay.

WWW.MUSICFOLIO.COM
Unshattered review

Though almost worshiped by his long-time goth fans, Mr Murphy never truly managed - albeit willingly - to break through the mainstream all these years. Maybe that is all about to change. Working with pop producer Gardner Cole (Madonna, Tina Turner, A-Ha) on his latest offering sure helps the cause. Opening with three pop-rock pieces (Idle Flow, Kiss Myself and Piece Of You) all destined to seduce a mainstream audience, 'Unshattered' rarely crosses the realm of darkness. But that staggering pop feel will undoubtedly leave many fans apprehensive at first listen. Idle Flow, the first single, was co-written with Peter DiStefano (Porno For Pyros, Jane's Addiction), as well as ex-Bauhaus bandmate Kevin Haskins.

'Unshattered' is not all pop though - Emergency Unit is a haunting melancholic track, Blinded Like Saul is menacing and true to Peter's signature style, while The First Stone is a sublime song reminiscent of the brilliant 'Love Hysteria' album. And of course, through the album THAT voice never fails to deliver and amaze.

RELEASE MAGAZINE
Unshattered review

A pause inevitably ends a Peter Murphy album whether it's mastered to disc or just unintentionally there as you naturally wait for what happens next. This may in fact be the last Peter Murphy CD review I write for Release Magazine. His music has gone to the outer genre boundary of what Release deems 'our' content. Murphy has steadily moved from the darkness towards the light of contemporary alternative music. Keep cool, he hasn't lost his growl yet.

Eleven songs on 'Unshattered' are produced by Gardner Cole. Separating his private life from his career, Murphy ventures off from Istanbul to London, Montreal, Los Angeles and Phoenix. Murphy unfolds his solo journey in the making of this record.

Some songs are co-written with Ned Bouhalassa of Montreal to where the recording and collaboration began. A short time in Toronto to meet and write with Kurt Swing hammer (Vital Sines) brought Murphy ready to get the project going. Once the studio players were added, it was a potent mix.

Lead track Idle Flow does not differ significantly from the 2001 recorded version by project Rambient, where Murphy was a guest vocalist. A conscious decision not to have Turkish instruments involved on 'Unshattered' makes this listen very strange indeed. It's stripped down and yet made ready for anyone's musical tastes. In the Thelma Sings To Little Nell lyric 'as she sings from one to 99' brings warmth yet chills. Let it set in and you can feel the spiritual essence of Murphy fill the room. Bass is significantly there on The Weight Of Love, as are the keyboards of producer Gardner Cole. Murphy builds on the foundation of longtime coming 'Dust' but from a new direction. He is without noticeable Turkish influences - a haunting echo in Give What he's Got and guitar in the flowing foreground. Closer Breaking No One's Heaven gives insight into 'Unshattered' as it repeats lyrics and elongates musically, like it never wants to end. This is the closest we get to the Murphy of old as he does a speak-over at the beginning. Regardless of the musical recording locations, I can only imagine that Murphy is a vocalist who never needs a second take during recording.

It's hard to imagine which is the most solid single here as Give What He's Got is as strong as Idle Flow or Blinded Like Saul which includes some drumming by Bauhaus brother Kevin Haskins. This album unravels itself over different locations but doesn't give the feel of these locales. It still holds the spiritual context and charmed vocals Murphy is known for in this new collection of thoughts and music. As most know, Peter Murphy onstage is a spectacle not easily confined to CD. Today we get Peter Murphy moving on from studio albums 'Cascade' and 'Dust'. No more bat cave. Begone.

SPILL
Unshattered review

There is a story that has spread like mononucleosis through corridors of music journalism that when first presented with Gary Numan backstage at a show, david Bowie spat out an enraged attack. To paraphrase, it went something like: 'Get that fucker out of here, he stole my fucking act!' kick-starting their abiding dislike of each other. That is, if you believe the rumours.

Peter Murphy had better hope The Duke doesn't call in on any of his upcoming gigs, else there'll be murders.

For the most part, these are charming, upbeat, acoustic driven MOR songs with a retro-electro twist, but the vocal is so Bowie-affected it makes listening slightly uncomfortable.

SUBBA-CULTURE
Unshattered review

The two words that sprung to mind within the first ten seconds of Unshattered were 'David' and 'Bowie'. The similarity is uncanny and not a bad thing either. Not that Murphy's music isn't original; he just sounds like Ziggy.

The new album is a return to the fore three years after the Turkish-inspired Dust and is filled with subtly up-beat indie pop tunes - totally different to Dust in every way. Although it was written and recorded in a matter of weeks, some of the music dates back to sessions a few years ago, with various musicians of wide fame in the world of rock.

A lot of artists fall into the trap of making their album very samey but every single song on Unshattered is of a totally different genre. The music for 'Kiss Myself' sounds like Badly Drawn Boy, for example. And track one, 'Idle Flow', is so full of musical oddities it's very hard to pick out any particular, or at least conventional instruments.

If you can't quite fathom Unshattered, don't fret. Mt Murphy said himself about the album: 'It is enigmatic and elusive to me, even though I wrote every word.' There it is in a nutshell.

HOT PRESS

Peter Murphy became a cult hero as front man of goth-rockers Bauhaus from '79 - '83. This was followed by a brief stint in Dalis Car with Japan's Mick Karn before inititiating a solo career with his 1985 LP, Should The World Fail To Fall Apart. In the '90s 'Cuts You Up' and 'The Sweetest Drop' became his biggest selling singles to date and, between playing live with Bauhaus, he continues to perform solo, release albums and work with his former band mates. His voice and stage presence are as strong as ever so this show's a must for anyone who rates leftfield, post-punk icons.

MOJO
Unshattered Review

The most saleable of Peter Murphy's solo albums sine Bauhaus split 22 years ago has been Deep, which went U.S. Top 50 in 1990. But a lust for unit-shifting bore no appreciable influence on subsequent work which is why Unshattered's blatant bid for commerciality is a jolt. Tunes have never been anathema to Murphy but the production sheen of Gardner Cole (Madonna, Tina Turner) is something new. From 'Kiss Myself's harmonica-aided mid-tempo pop and 'Face The Moon's Scott Walker-like balladry to the fretless funk of 'The Weight Of Love', Murphy is dressed for success. His Bowie-indebted voice soars and the accompaninment slots into professional place. Will lack weirdness for diehards but you could easily play it at your sister-in-laws.

BARCODE
Unshattered Review

Peter Murphy could tell you a thing or two about how a label can stick to the mindset of public opinion like superglue. He has always struggled to shake off the Goth tag earnt during his comparatively short stint in Bauhaus - despite being on something like his 10th solo album. The only thing that now remains from those bygone days is Murphy's talisman vocal delivery, but nothing else.

Born in England, Murphy relocated to Turkey around a decade ago - the effect this had on his music was ably demonstrated by his 2002 album - Dust, which mysteriously combined both Eastern and Western music styles on what was a dark, deep, yet somewhat intangible release. However, with Unshattered, Murphy has returned to the semi-commercialism of previously well-received solo albums such as Love Hysteria (1998) and Deep (1990). Whilst Murphy has always been linked with electronic music, Unshattered welds the synths and programming seamlessly into what is a broadly guitar-based album, amodst conventional drums and bass. What really shines through, however, is the quality of the songwriting which ensures nothing inhibits the production - and in that respect this album is expertly carved. In fact, there are a handful of tracks on Unshattered that are amongst the best that Murphy has ever recorded, from the anthemic chorus of the opening 'Idle Flow' (co-written with Peter DiStefana - Porno For Pyros) - a track that seems to typify all of Murphy's trademark characteristics, to the following 'Kiss Myself' - with its bluesy accordian, jangly guitars and a stonking chorus - this track is quite superb.

Elsewhere, 'Piece Of You' wrestles with the dichotomy of pure pop melodies and contemporary, curved indie-pop, whilst 'Face The Moon' is more understated - with Gardner Cole's guitar strumming and Deon Estus' detailed bass adding the sort of quality musicianship that lays a watertight foundation throughout the entire album (with further contributions arriving from Eric Arvery and Steven Perkins - Janes Addiciton, and Kevin Haskins - ex-Bauhaus).

The second half of the album is equally commanding, containing 'Give What He's Got', a brilliant sing-a-long track that powers forward like an unstoppable freight train thanks to Murphy's exemplary vocals which are on top form throughout. 'Blinded Like Saul' with its spiralling guitars and heavy rock ethic is also sure to delight fans, whilst the closing 'Breaking No Ones Heaven' combines the juxtaposition of dark and light elements that have constantly infiltrated Murphy's long term artistic vision. In all honesty, Murphy is unlikely to ever break into the mainstream - he intelligently refuses to force himself into that corner, and besides, Unshattered is far more comfortable sitting on the periphery where Murphy has always benefitted from writing music on his own terms. His thirst remains undiminished and it's remarkable that he should perhaps record his strongest album to date 25 years into his career.

Andrew Collins

UNCUT
Unshattered Review

The razor-cheeked singer with '80s goth-punks Bauhaus, currently enjoying one of their sporadic reunions, is operating within well established parameters on Unshattered. Nine albums into his solo career, Murphy's vocals remain shamelessly Bowie-esque, right down to his multi-tracked and thetraically traumatised warble on 'Blinded Like Saul'. Thankfully though, that same voice is also strong, elevating even anodyne jazz-rock flurries and lightly Turkish-scented ballads. Murphy sounds a little too steeped in mid-life contentment for the romantic desolation his cod-poetic lyrics seem intent on conveying but he remains an elegant master craftsman in his own narrow field.

Stephen Dalton

POP CHANNEL
Unshattered Review

Peter Murphy has been on the road for three decades. It's been a career with infrequent releases - Unshattered arrives three years after the avant-garde, Turkish inspired Dust and it couldn't be more different by being a collection of subtle, mature pop songs. Due to the quality of Murphy's voice in a non-rock technique sounding very much alike with David Bowie and Scott Walker, it is delivered with passion and style. Unshattered will suprise many listeners with its delicate arrangements, acoustic-driven songs and Murphy's crooned vocals which range from 'playfully theatrical to genuinely soulful' - points out the man's press release and for once it ain't 'wiki wiki' talking. Another suprising thing is that although the album was [mainly] written and recorded in a a few weeks, some of the music dates back to sessions a few years old - including contributions from former Bauhaus drummer Kevin Haskins, ex-Jane's Addiction bassist Eric Avery and drummer Stephen Perkins (ex-Jane's Addiction, Porno For Pyros).

Still, despite all the rocking rocking credentials and Murphy ain't no slouch himself, this is a thoughtful, lolling and exqusite album in a more traditional and classy vein. There are moments when he let's rip, on 'The First Stone' and 'Blinded Like Saul', but these are songs generally strong on melodies (probably the strongest in his career in that respect) containing details and twists that keep the listener far from a predicatble realm.

Highlights are numerous and varied, from funky-rocking 'Idle Flow' and a slower 'Piece Of You', the torchy 'Emergency Unit'... Only the concluding track 'Breaking No One's Heaven' bridges to the previous album Dust, rooted in Turkish culture Murphy assimilated/got inspired by over the number of years he's lived in Istanbul.

These are songs that retain an overall mystical aura, as Murphy himself notices: 'Unshattered is such an oddity that I'm still getting used to it myself. It is enigmatic and elusive to me, even though I wrote every word.' That's the benefit of non-linear writing, you can dip into it time and again.

This album makes it almost obligatory to recall Bauhaus' appearance in David Bowie/Catherine Deneuve/Susan Sarandon starring and Tony Scott directed 1983 movie, 'The Hunger', when the band's live performance opens the film. And for younger fans of nostalgia - and, by the way, who isn't? - Peter Murphy and Bauhaus perform together again.

LOSINGTODAY.COM
Unshattered Review

As much as I care to admit it I've never really had much care for Peter Murphy as a solo artist. The cheek boned one I felt never really cut the mustard following the implosion of Bauhaus some 20 years ago. I think my avoidance of all things Murphy stems in main to those early and painful post-Bauhaus years. An ill-advised collaboration with Japan's Mick Karn as Dalis Car was lacklustre as though the word was created with it in mind, while his first two solo albums - Should The World Fail To Fall Apart and Love Hysteria were so bereft of direction that you couldn't help but wonder how he'd found his way to the recording studio in the first place. All this set against a backdrop that saw his old sparring partners (Ash, Haskins and David J) now happily together and reaping big rewards as Love And Rockets, so that even the likes of David Sylvian and Nick Cave were proving to be more credibly appealing. That was then but this is now - a decade and a half has passed, in that time Murphy has released several more albums culminating in the well-received Dust set in 2002. Bauhaus have reformed recently to be found performing at the Coachella festival and now Unshattered is released, his eighth full-length. We braced ourselves as the CD tray munched it up. Without appearing or indeed wanting to sound condescending, Unshattered is pretty good, it's survived the first play and strangely enough has begun to weave its magic. Murphy sounds liberated. Of course, he still sounds more like Bowie than Dame Dave himself does, so much so you wonder that if times were a little harder for Mr Jones, then he might well be considering exacting some sort of intellectual property rights (just check out the beautifully bruised 'Emergency Unit' with its sapping likeness to 'Wild Is The Wind') but that said, there's a visible sense of fluidity across these eleven tracks that makes you want to keep peeking back just to make sure what you heard in the first place was in fact what you heard in the first place. An album that fidgets - yes fidgets - Murphy's not content with staying on the same spot too long. The generic crossovers are such that you get a positive potpourri of styles and textures. 'Idle Flow' kicks off proceedings - it's the first of a number of tracks that possess a series made-for-radio vibe, smouldering in its clever utilisation of enriched dark and light mediums and subtle middle Eatsern washes. If like me you've had the tendency to be out of the country when Murphy has been 'in the house' with new solo material, then 'Kiss Myself' is a pure 'kick in the eye' pop experience. The Murphy 'mask' drops and he becomes wildly abandoned in a perky yet pristine, sugar-coated harmonica fuelled, Dylan-esque-meets-Bleubells kind of way. And just while you are sitting there pinching yourself and thinking is this really Murphy, along comes the sucker-punching 'Pieces of You' with its mid-80s derived, fattened pop funk riffs dusted down and brought up to date and enriched by the subtle weave of Latino nuances to knock you clean on to your backside. As though not wanting to send you over the edge with all this high-wired exuberance, there are slow burning nuggests such as the shanty-like ambience of 'Thelma Sings To Little Nell.'And those thinking 'where are the rockers?' - well, stuff like 'The First Stone' with its mainstream leanings and the superbly twisted 'Blinded Like Saul' should appease the faithful, especially as the latter has one of the best side-winding riffs you'll hear all year.

Unshattered is a worthy and dare I say it, essential accessory to any record collection wishing to call itself half decent - a return to form that makes last year's wet blanket excuse for a comeback by Morrissey positively short changing - who said Lazarus?

TOTAL MUSIC.COM
Unshattered Review

The first recorded endeavors of ex-Bauhaus front man Peter Murphy since 2002's middle eastern epic Dust, this time he is on more recongnisable ground, basso-profundo Bowie croon and an ear for a melodic hook intact. More or less eschewing the bombast of his earlier material, this is an introspective, thoughtful Murphy and if the quality control laspes on occasion, it is only very occasionally, as tracks like 'Face The Moon', 'The Weight Of Love' and 'Idle Flow' are certainly amongst the best things he's ever recorded.

ROCKSOUND

... Really enjoyed last night despite a distinct lack
of Bauhaus. He's quite nimble for an old feller
though isn't he? And 'Cuts You Up' was magnificent.

Neil Gardner

SIGHT & SOUND

The gig was excellent.

Ronnie Hackston

Citizen Entertainment
Live at B.B. Kings Blues Club & Grill

Do you guys remember an Era of music right after Punk died and just before New-Wave. I'm talking about gothic rock bands! Not Marilyn Manson or magazine goth acclaimed bands like Cold. Gothic Rock bands pioneered their movement around the late seventies during the death of Punk. Morbid isn't it? Some were established by the media as post-punk and I don't disagree, there was a lot of Punk in them. They also had other characteristics like rising from a coffin or drenching their eyes and lips with dark colors, wearing pins and chains on leather biker jackets, Dark cowboy hats, sunglasses and a deep echoing voice. It doesn't sound post-punk like the Buzzcocks or Stranglers? The bands were: Bauhaus, Suxie & The Banshees, The Sister of Mercy, Christian Death, Field of the Nephilim, Alien Sex Fiend and if you don't get the picture The Cure. Now where vampires with long “Fabio” hair come in, I have no idea? The night was May 16th and Peter Murphy (ex-lead singer from classic gothic rock band Bauhaus) appeared as usual at midnight in B.B. King's Blues Club. The cult leader Peter Murphy with his Bowie like charm was received by a crowd of goths, new wavers and blue-jean white-shirt pop rockers. The lifting opening song “Gliding Like a Whale” from his 1995 album release “Cascade,” was followed by a radio friendly single “Idle Flow” from his new album release “Unshattered.” Peter looked as versatile as the crowd with his beautiful dark suit and new blonde hair. He is not the first pioneer to abandon the dark outdated 80's fetish and die it blonde (Andrew Eldritch of The Sister of Mercy did it too). That didn't stop Peter from playing his classics such as “Line Between the Devil's Teeth” and closing with U.S. top 40 hit “Cuts You Up” from the multi-platinum selling album released in 1990 “Deep.” During the show Peter performed most of his own trademark antics such as the slow-motion run and his spinning around dance. Peter Murphy who is in his mid 40's, dances like a 19 year-old. The newly acquainted facial hair is a reminder that he is aging in a line of Pionners with Iggy Pop and David Bowie. The new album “Unshattered” reunites co-writer Paul Statham from the 1990 album Deep. The new album is full of new surprises. It includes: Peter DiStefano (Porno for Pyros), Stephen Perkins, Eric Avery (Jane's Addiction), Ramy Antoun (Macy Gray), Kevin Haskins (Bauhaus) and it is produced by Gardner Cole (Madonna.) Despite of his divine presence Peter Murphy's band lacked feel on their performance. His tour band Justin Bennett (drums), Jeff Schartoff (bass) and Mark Gemini Thwaite (guitar) all looked as if they were “play for hire” musicians. I'm sure they get paid but they don't have to act like it. It just doesn't look right with an Icon like Peter Murphy.   As Peter returns for the encore we all stand and listen to wise words of love during “Strange Kind of Love” as he sings “A strange kind of love, A strange kind of feeling… This is no terror ground or place for the rage... Just a taste for the truth, perfect taste choice and meaning, a look into your eyes.” As he left so did the room that loved him for who he is and not who he was. Raul Stancov

SONIDOBSCURO
Peter Murphy - 'Unshattered'    

Unshattered es la última creación del artista Peter Murphy, otra joya dentro de su colección de piedras preciosas, capaz una vez más, de hacerte volar. Irrompible, Indestructible y de una sonoridad digna de los cielos, éste disco compila once temas que incluyen secuencias con la instrumentación que siempre acompaña al que fuera cantante de Bauhaus.

Muchos dicen:-" Peter Murphy no es el mismo que…". ¿Acaso debería serlo?.

La madurez de éste artista se hace patente en cada una de sus manifestaciones creativas, y hubiera sido una pena y una limitación, creo yo, habernos perdido ésta parte de su vida musical. Una época que comenzó desde que decidiera empezar su carrera como solista, acompañado siempre, por músicos y colaboradores de gran categoría.

Para la grabación de - Unshattered- han participado:

Stephen Perkins (batería), Tim Pierce (guitarra), Johhny Potoker (mezclas), Paul Statham (programación), Howie Weinberg (masterización), Peter DiStefano (guitarra) , Harry Gregson (programación), Chauncy Gardner ( técnico sonido), Ramy Antoun (batería), Ned Bouhalassa (programación), Simeon Spiegel (técnico sonido), Daniel Cinelli ( técnico sonido), Sheetal Bhagat (coros), Koray Birand (fotografía), Bo Caldwall (asistente de sonido), Ioannis Goudelis (acordeón), Orkan Telhan (diseño gráfico), Gardner Cole (programación, producción, teclados, bajos, teclados, percusión), Eric Avery (bajo), Doug D'Angelis (técnico sonido), Deon Estus (bajo), Kevin Haskins (batería), y por supuesto Peter Murphy en la voz.

Para la gira mundial de éste disco Peter Murphy es acompañado por: Jeff Schartoff (bajo), Mark Gemini Thwaite (guitarra), Justin Bennet (batería). Dos han sido las teloneras; Renata Youngblood y Sarah Fimm; ésta última le acompañará en los tres shows programados en España (además de en toda su gira europea); cantando a dúo el tema 'Huuvola'.

Es patente la influencia sonora de otras culturas en la última parte de la obra de Peter Murphy, si bien 'Dust' nos dejaba un aroma árabe, una progresión en aumento de temas bañados en otros paisajes, en 'Unshattered' podemos disfrutar de ambientes más cercanos, siempre con la huella de distinción del artista.

'Piece Of You' es uno de esos temas que a lo largo de toda la discografía de P. Murphy dejan un halo de melancolía, así como 'Your Face' (Dust), 'Jemal' ( Should The World Fail To Fall Appart) y muchos otros que quedan reservados para las habitaciones de los amantes…Una vez más, un disco redondo en cuanto a lírica y arreglos , precioso diría yo…que sin ningún alarde de virtuosismo, se compone a sí mismo de manera perfecta y sencilla. Elegante.

No puedo resistirme en ésta reseña a decir que la voz de Peter Murphy ,una vez más y por siempre, puedo romperte por dentro, puede llevarte lejos, puede hacer contigo lo que quiera…ya sea desde la frescura del viento o desde el abismo, siempre es profunda. Es, sin temor a asegurarlo, una de las mejores voces que ha dado la música del Siglo XX.

Y en 'Unshattered' una vez más te aleja de la realidad dirigiendo la ceremonia. Una vez más…la dulzura de: 'Face Of Moon', 'Thelma Sings To Little Nell', 'The Weight Of Love', la siempre oscura mirada de 'Emergency Unit' 'Blinded Like Saul' o 'The First Stone' y por supuesto, el tema que da final a éste disco: 'Breaking No One´s Heaven' en el que Peter Murphy comienza declamando y termina dando una lección de sencilla maestría junto a los músicos que junto a él han tallado ésta gema indestructible e irrompible…

Carla Sais

Ánima & Pequeño Diablo Producciones & Guárdame1Cachorro
se complacen en presentar:
PETER MURPHY Unshattered Tour

El artista británico, Peter Murphy, se presenta de gira por nuestro país, como parte del tour mundial de presentación de su último disco – Unshattered.

Peter Murphy, que fuera líder de la mítica banda de post-punk británico, Bauhaus, es sin duda, uno de los artistas más completos de la historia de la música. Es en todos y cada uno de sus discos, elegante y arriesgado, desde que comenzara a finales de los años 70 con Bauhaus, para después, formar el proyecto surrealista ¨Dali´s Car¨, y en todos sus trabajos en solitario. Hace unos meses Bauhaus se juntó de nuevo para tocar en el Festival Coachella (USA), y es también desde que presentará junto a sus eternos compañeros: Daniel Ash, Kevin Haskins y David J. el Resurrection Tour en la ya desaparecida Arena (Valencia), que Murphy no pisara tierras españolas.

Peter Murphy se encuentra en una fase de madurez musical, su estancia en otros países y otras culturas se refleja en las composiciones, así como cuando reflejaba su cara en un espejo en los conciertos que lo convirtieran en mito. La voz de Peter Murphy, es única. Profunda. Completa. Su puesta en escena, impresionante, a la vez que sencilla. Heredero de la creatividad de David Bowie, es hoy en día, icono para muchos artistas incluido el mismo Bowie, y ofrecerá uno de los conciertos más esperados de los últimos tiempos en nuestra ciudad. ¿ Qué más decir sobre una de las estrellas de la música del éste siglo que más brillan? Terror, Surrealismo, Colaboraciones de lujo, Introspección, Sonidos, en casi treinta años de carrera musical… Peter Murphy está de gira mundial y lo hace junto a músicos de lujo: Mark Thwaite (Guitarra), Jeff Schartoff (bajo) & Justin Bennet (Batería).

Tres son las fechas del - Unshattered Tour- en España: Martes 12 de Julio en Sala Apolo (Barcelona) Miércoles 13 de Julio en Arena (Madrid) Jueves 14 de Julio en Cormorán (Valencia). La cita en Valencia será a partir de las 21.30 hrs, con la apertura de puertas de la Sala Cormorán, teloneará la artista Sarah Fimm , y a las 22.30 Peter Murphy y sus músicos reaparecerán en nuestra ciudad…

Deo2
Peter Murphy: 'Unshattered'
(Artful) Peter Murphy: ‘Goth-godfather' unlocks deeper emotions

Peter Murphy's been ‘on the road' for nigh to 3 decades… [OK, for the pedants - 27 years.] Alas, it's been a career with infrequent releases: ‘Unshattered‘ arrives three years after the avant-garde, Turkish-inspired ‘Dust' and it couldn't be more different by being a collection of subtle, mature pop songs. Due to quality of Murphy's voice in a non-rock technique sounding very much alike with David Bowie and Scott Walker, it is delivered with passion and style.

“‘Unshattered' will surprise many listeners with its delicate arrangements, acoustic-driven songs and Murphy's crooned vocls which range from playfully theatrical to genuinely soulful,” points out the man's press release and, for once, it ain't ‘wiki wiki' talking.

Another surprising thing is that although the album was [mainly] written and recorded in few weeks, some of the music dates back to sessions few years old - including contributions from former Bauhaus drummer Kevin Haskins, ex-Jane's Addiction's bassist Eric Avery and drummer Stephen Perkins (ex-Jane's Addiction, ex-Porno For Pyros).

Still, all the rocking credentials, and Murphy ain't slouch himself, but this is a thoughtful, lolling and exquisite album in a more traditional, and classy, vein. There are moments where he let it rip, on ‘The First Stone' and ‘Blinded Like Saul', but these are generally songs strong on melodies [probably the strongest set of his career in this respect], containing details and twists that keep listener far from predictable realm.

Highlights are numerous and varied, from funky-rocking ‘Idle Flow' and a tad-slower ‘Piece of You', the torchy ‘Emergency Exit'… Only the concluding track, ‘Breaking No One's Heaven', bridges to the previous album, ‘Dust', rooted in Turkish culture Murphy assimilated/got inspired by over the number of years he's lived in Istanbul.

These are songs that retain an overall mystical aura, as Murph himself notices: “‘Unshattered' is such an oddity that I'm still not used to it myself. It is an enigmatic and elusive to me, even though I wrote every word.” That's the benefit of non-linear writing, you can dip into it time and again.

This album makes it almost obligatory to recall Bauhaus' appearance in David Bowie/Catherine Deneuve/Susan Sarandon starring and Tony Scott directed 1983 movie, ‘The Hunger', when the band's live performance opens the film. And for younger fans of nostalgia - and, by the way, who isn't? - Peter Murphy and Bauhaus perform together again.

SashaS

PETER MURPHY
26 May 2005: House of Blues - San Diego, CA
by Kristie Macris

When I said all I wanted for my birthday was Peter Murphy, I meant the tall, gaunt "Petah" of the early-1990s with bleached hair and the haunting voice that made me melt on my fifteenth birthday. As 30 approaches, I got a slightly different Peter Murphy -- a pudgy, unshaven, yet still bleached-mopped Peter in what I swear was a gray bath robe, not a trench coat. But that voice, that voice still penetrated every corner of the new House of Blues in San Diego with the same ethereal appeal.

I expected the House of Blues to be filled to the brim with pasty faces and vinyl, but the goths were sparsely distributed. The concert lacked the usual gothic flair that is expected from the former Bauhaus frontman. Still Murphy's animated performance, in the small venue, perfectly showcased the new album, Unshattered, which could certainly be described as less depressing than his prior work.

While I heard several people complain that Murphy was focusing on the new material I didn't hear them talking trash later as they clamored to touch him. With the intimate setting, the responsive audience seemed to care more about getting close to the singer than what was actually going on onstage.

While overall, Murphy seems to be moving away from his earlier Goth days, he still manages to make every single person feel like they are the only one in the room. While he must have touched (literally) at least 30 people in the crowd, I heard more than one gushing about how Murphy came right to him. I was too busy trying to snap photos without being caught to grab Murphy's hand the first two times he reached into the crowd near me, but I was grazed on the third pass, I swear.

I'm sure there was a band on stage. In fact, I know that the touring members of that band are drummer Justin Bennett (Skinny Puppy), guitarist Mark Gemini Thwaite (Tricky, The Mission), and bassist Jeff Schartoff (Human Waste Project). They accented Murphy's voice perfectly, while remaining quite non-descript on stage.

While the majority of the show sounded marvelous and kept everyone dancing, the four song encore proved to be the highlight of the evening. With lyrics in hand, Murphy belted out "Lust for Life" (my favorite Iggy Pop song for dancing) before "Hit Song" (my favorite Peter Murphy tune).

Of course, Murphy played "Strange Love" and all the others one would expect. He also pranced around like he was slender and happy, totally betraying his unkempt look -- and contradicting the hypnotic bat imitation he did at the Bauhaus show earlier in the month.

So for the second time in my life I got Peter for my birthday, and this time the House of Blues gave me a personal experience I will never forget. Having moved to the reserved balcony seating for the encore, I watched as Murphy hardly sang any of my favorite songs but still managed to make the few he did sound just like the album (to be fair, "Hit Song" does have many, many layers of vocals). The security guard helpfully told me that I had drunk too much and in fact was not witnessing any lip-syncing -- I believe.

Honestly, as any Peter Murphy fan will tell you, as long as his voice wafts and crawls through the crowd, it really doesn't matter what else is going on in the room.

Denver Post
"An explosion of creativity"

It's probably a blessing that Peter Murphy still embraces the vampy
theatrics associated with his early music career.

Otherwise this goth-rock icon would be trapped in a bit of pop culture amber
of his own making.

Take the poster for tonight's Peter Murphy solo show at the Ogden Theatre.
The ad features a photo, easily 25 years old, of the sinewy singer with
spiky hair and new wave makeup akin to the look he sported in the early
1980s. It's evidence that even after eight solo albums, the music industry
has immortalized Murphy as the batlike frontman of Bauhaus, the essential
post-punk band.

"I'm not an apologist about Bauhaus in any sense," Murphy said last week
during a tour stop in Atlanta. "Peter Murphy in or out of Bauhaus is
autonomous."

It might not have helped matters much in the arena of artistic autonomy that
in April, after receiving a last-minute call from Coachella Music Festival
organizers, Bauhaus performed a one-time reunion gig; Murphy sang while
dangling in chains over the stage. It was déjà vu for anyone who recalled
the performer's eerie nightclub cameo in the 1983 vampire flick "The
Hunger," which came out the same year Bauhaus disbanded.

But don't expect tonight's show - or this afternoon's in-store appearance at
Vendetta Music on Bayaud Avenue - to have much of that spooky vibe. With few
exceptions, Murphy, touring in support of his latest album, "Unshattered,"
stopped performing live Bauhaus tracks years ago.

"I played a couple of Bauhaus songs on my first-ever solo tour in 1986," he
said. "Even though they sounded great and it was me singing them, it was
kind of like karaoke to Bauhaus.

"I want to come out and not be like a cover version of myself. Bauhaus only
happens when all of us are there," he said, referring to ex-bandmates
Daniel Ash, David Jay and Kevin Haskins.

Half-English and half-Irish, Murphy is a practicing Muslim and lives in
Turkey with his wife and two teenagers.

Band support on this tour comes courtesy of drummer Justin Bennett from
Skinny Puppy, guitarist Mark Thwait from The Mission and bassist Jeff
Schartoff from the Human Waste Project. "It's an extraordinary collective,"
Murphy said.

"Unshattered" is another reason Murphy departs from goth references on this
tour. While he remains a dark poet in his songwriting, the new album is
uncharacteristically pop. Its opening track, "Idol Flow," features U2-type
guitar work behind Murphy's familiar moan but has a light, sing-songy
chorus. The harmonica sequences and intermittent "bap-bap-bap-ooooo" during
"Kiss Myself" could almost be a John Mellencamp tune. Still, just as he did
with hits such as "Cuts You Up" and "Indigo Eyes," Murphy makes you want to
listen.

"(The album) sort of surprises me in its universal sound," he said. Instead
of his usual routine of going into retreat to write new material, he
collaborated with several people, including French-Canadian producer Ned
Bouhalassa and the Toronto-based musician and visual artist Kurt
Swinghammer. The result was the album's buoyant, moody sound.

Murphy recorded these songs all over the globe and included the likes of
Jane's Addiction drummer Stephen Perkins and longtime pop producer Gardner
Cole (Madonna, Tina Turner, Chaka Khan) in the process. "It's accessible,
yet it remains Peter Murphy," he said.

The love song "Piece of You" is airy synth music with sweet acoustic guitar.
But Murphy's esoteric lyricism remains. "Face of the Moon" is a slower,
jazzy piece, while "Emergency Unit" has a slight country twang.
Characteristic or not, Murphy feels positive about the album's eclecticism.

"It's kind of an explosion of creativity," he said. "I think I may even get
bigger than Bauhaus on this tour."

By Elana Ashanti Jefferson

LA Times
The Bauhaus blond with Bowie on his mind

Going solo, Peter Murphy balances oddball touches with romantic notions,
displaying an obvious lust for life.

Peter Murphy did not sing "Bela Lugosi's Dead" hanging upside down like a
bat at the Henry Fonda Music Box Theatre on Friday, as he did in the Bauhaus
reunion at the recent Coachella music festival. That was probably for the
best. Do that too much and it's just shtick.

In fact, he didn't do "Bela Lugosi's Dead" - the 1979 Bauhaus song that made
him a goth-rock god - in any posture at all in his solo concert Friday. That
was probably for the best too. Most of the fans appeared to have outgrown
the more extreme attachments to goth affectations.

Not that he completely stayed away from gothness. The Englishman (who lives
in Istanbul) started the show cloaked in a lustrous blue-velvet trench coat,
and with his bleached-blond hair sculpted into an Ed Grimley spike looked as
if he were auditioning for the Riff Raff role in a "Rocky Horror Show"
revival. And he played up his eccentric countenance, at times brandishing a
6-foot staff as he prowled the stage, singing with a lugubriously dark tone.

But he also emphasized the romantic undercurrents of his material,
especially on the melodically inviting songs from his most recent album,
last year's "Unshattered." Unfortunately, his stripped-down three-piece band
played everything with pretty much the same density, undermining any
emotional nuance.

What was not downplayed was Murphy's long-standing worship of David Bowie.
He even quoted Bowie's "I'm Afraid of Americans" (changing it to "I'm not
afraid of Americans") in a between-song greeting, and as always filled his
vocals with Bowie-esque mannerisms. And for an encore he did a barely
rehearsed but spirited version of the Bowie-produced Iggy Pop classic "Lust
for Life," exaggeratedly reading the lyrics from paper taped to the floor -
but right-side up.

By Steve Hochman

Music
Peter Murphy at Henry Fonda Theatre

He hung upside-down like a bat at Coachella and sang a note-perfect version of "Bela Lugosi’s Dead." How rad is that? That’s not a rhetorical question — I think we can appreciate the general overall radness of singing nigh unto 15 minutes while the blood rushes to one’s head. His latest album, Unshattered, created with such disparate creative djinni as Peter DiStefano (Porno for Pyros), film composer Harry Gregson-Williams and Montreal musique concrètist Ned Bouhalassa, is one in a string of more than a half-dozen solo records since his work with Bauhaus (exclusive: some Bauhaus lyrics were cribbed from Dutch painter Jan Cremer). He doesn’t so much preach to the converted as converse with Paradise from places as diverse as a flat field, his Turkish home, or onstage tonight. His conversion to Islam underscores a persistent conundrum: Will detractors kick him out of all devotional spaces, or will countless faithful continue to listen? 6126 Hollywood Blvd. (213) 480-3232.

by David Cotner

LiveDaily
Interview: Peter Murphy

When goth founding father Peter Murphy recorded his eighth and latest album, "Unshattered," he wanted to spread his musical wings.

Instead of keeping to himself and penning the album solo, Murphy felt the urge to collaborate with other musicians and producers. He visited Phoenix, Montreal, Los Angeles, London and Istanbul before wrapping up the project in a matter of weeks. Even though outside forces contributed to "Unshattered," the former Bauhaus frontman says that the album fits in with his catalogue of material.

"The album, to me, has that signature electric mark that I'm known for. It has a continuity about it that makes it sound grown up, and it could become very big," Murphy said during a break in rehearsals for his first tour in three years. His touring band includes drummer Justin Bennett (Skinny Puppy), guitarist Mark Gemini Thwaite (Tricky, The Mission) and bassist Jeff Schartoff (Human Waste Project).

Throughout the recording process, producers and musicians--including Paul Statham (who worked on Murphy's album "Deep"), producer Gardner Cole (Madonna), former Bauhaus drummer Kevin Haskins, ex-Jane's Addiction bassist Eric Avery and former Porno for Pyros/Jane's Addiction drummer Stephen Perkins--added pieces here and there, suggesting real drummers instead of samples, and replacing some of the bass sections.

"There were some real subtle but very crucial additions," Murphy said. "There were subtle additions, but it made a great shift in the sand of the album."

liveDaily: You recorded "Unshattered" in several different places throughout the world. Why did you decide to record this way?

"Dust," my 2002 album, was sort of my Turkish album. I lived there for 15 years, and I always thought that that album was going to be recognized as a classic in years to come. That was written with a very specific idea. And afterward, I set out to travel and remove myself from [the] usual way that I write. I write alone, basically. I wanted it to become more of an extrovert approach. That's why I decided to move around a lot and make chance meetings with musicians that I may or may not work with.

How do you feel that your music fits in with today's artists and trends?

If you listen to all my work, there is a wealth of melody and a sense of ranging from pure pop songs with a serious edge to the most esoteric--almost ambient--orchestrated number. It all has an underlying, I suppose, alternative-music element. That's a conscious decision that I make. I am an alternative artist. It's where I come from and what I do. Alternative music helps to establish artists, to give artists an opportunity who would not have acceptance with a corporation. There was born the alternative label. When I think of myself, I think of myself as a lyricist, a novelist--a lyricist and a singer first and foremost. Of course, I write in that way. I don't really feel that I identify with rock 'n' roll, as it were. I always like to say that I'm in rock 'n' roll, but not of it.

Do you write in the studio, or does an approaching deadline appeal to you?

[My songs] tend to come together from disparate areas. I'm always writing words, not as a sense of, "Oh I must write something." I do enjoy writing and playing with words, and maybe I'll get a line or a phrase, I maybe have one note with just one phrase that's a memo to start me off on that idea, that will be like a note. I'll usually write from that. Eventually, I sit down and apply myself. And then when it comes down to the business of songs, I then sort of look for some old ideas, an old riff, an old chord progression here or there.

Who were some of the songwriters you worked with?

I really enjoyed the album by Kurt Swinghammer, and I wanted to meet him when I was over in Montreal. I just said, "Hello, Kurt; let's write some songs." We wrote a couple songs instantly. It was a refreshing approach to cut out the elements of procrastination. There was often too much agonizing over ideas. In a sense, the album appeared, as it were, after doing this sort of writing. I was using words which are evocative of a meaning, but not didactic. It's almost like all these separate elements, disparate elements, were congealed into this one whole, which is an album.

You are touring the United States through May. Is that the only U.S. tour that you have planned in support of "Unshattered"?

In America, yes, at the moment. Afterward, I go to a full British tour, all around Europe, headline festivals in Europe. One of the festivals that is confirmed is headlining a festival in Portugal. Then there's another one in Sweden. For the most part, it's going to be a headline tour, and then, hopefully, here (the United States) again, depending on the reaction.

A few weeks ago, you reunited with Bauhaus members--bassist David J., guitarist Daniel Ash, and drummer Kevin Haskins--at Coachella. How did the reunion go?

Coachella was a memorable event in our lives, I think. The festival has such a relaxed atmosphere. It's very nice. It's affordable; it's $150 for the whole weekend. The facilities there are excellent. It's a very good atmosphere and it's in a brilliant setting. In the times when you're getting major acts that are charging God knows how much, it's a good alternative-music festival, I think.

What do you think about a Bauhaus reunion in the future?

I've always felt that we just have to make a commitment to that. It will happen. I think [Coachella] showed that. In the future, we may get together.

Do you do any Bauhaus songs on this tour?

The only time I did Bauhaus songs was in 1986, just after I went solo, my first solo tour. I tried to do songs like "She's in Parties." Although they sounded good, it was rather unauthentic. I was covering us. It went against the whole idea that a band is the band, and these are the songs. If any one of us were to play separately, it would somehow [destroy] these values. I left them immediately. I stopped playing Bauhaus. It's my music exclusively. I will be covering all of my albums to some extent, with an emphasis on "Unshattered."

Christina Fuoco

Rank and Review
Unshattered: an interview with Peter Murphy

Peter Murphy is my personal musical idol. He is beyond any pop culture icon created by the media and there are many that share my devotion to his music. When we speak of him, our voices take on a reverence, our eyes shine with sacred devotion, and we share a moment of adoration that cannot be denied.

When I saw the “Cuts You Up” video in the early 1990’s, I fell in love with Peter Murphy’s music. Completely enraptured by the music, I rushed out and bought every Peter Murphy album I could find. I literally think I listened to nothing but Peter Murphy for months! It wasn’t until I entered the Goth scene a few years later that I would discover his legacy with Bauhaus.

To this day, his albums “Deep” and “Dust” live in my CD players. Like many Peter Murphy devotees, I relish the beauty of his music and lyrics. I love the way his music reaches deep inside and touches the spiritual chords of the human existence. It was my deepest pleasure to interview the cult music icon, Peter Murphy. Dreams do come true. There is no one else quite like Peter Murphy. Often shrouded in mystery and hidden behind the veil of his music, he is a legend to many.

Peter Murphy first rose to cult status fame with the post punk band “Bauhaus” in the late 1970’s when they released “Bela Lugosi’s Dead”. Though the song is very tongue in cheek, it went on to become an anthem for the burgeoning Goth scene that was born out of the Post Punk movement. The band’s dark garb, made up faces, and wild hair had a profound influence on what was to become the “Goth” look. But in the end, it was the music that captured the minds and hearts of the many Bauhaus fans.

When Bauhaus disbanded in the early 1980’s, Peter moved on to various music projects and eventually started a solo career that would continue his legacy. Close to a decade later (in the early 1990’s), Peter Murphy’s album “Deep” had an unexpected hit with the song “Cuts You Up”. The video’s heavy rotation on MTV exposed an entire new group of people outside of the Post Punk and Goth scenes to Peter’s music.

After moving to Turkey, Peter’s music continued to evolve and his “Dust” album and tour enthralled critics and fans alike. He continues to have a devoted following that has followed his music throughout the years and greeted his latest album, “Unshattered” with great delight.

There was much speculation that Peter would not be touring to support the album, but then the unexpected news of the Bauhaus reunion at the big music festival Coachella on April 30th sent many of his fans rushing to buy tickets. Then came the very happy announcement of tour dates for the “Unshattered” tour. Unfortunately, he has no tour dates in Texas at this time, but we can only hope for the future.

Recently, Peter Murphy took the time to answer my questions about his latest album, the tour and his music as a whole.

Rhiannon: First off, it is a tremendous pleasure to interview you. I simply love and adore your music. I find it inspires me in many different ways and often reflects my inner emotions. Though I write for a Goth/Industrial column, I confess that I was a fan of your solo work first and worked my way back to the Bauhaus. “Crystal Wrists” and “Indigo Eyes” remain absolute favorites of mine.

I had the pleasure of meeting you at Waterloo records during the “Dust” tour and you were absolutely amazingly kind and charming. That evening when I attended your concert with friends, I was transfixed by your performance. It was very close to a spiritual experience and is one of the few events in my life that I would love to relive. To this day, I meet people who view that as one of the best concerts they ever attended.

Peter Murphy: Many thanks for your encouraging wishes.

Rhiannon: Many people did not expect you to tour for the new album. What inspired you to take to the road?

Peter Murphy: With the way I am, the story is the reverse in that my song creation is nigh on the excuse to get on to the stage and perform. Rather like saying that the tea is just the excuse for the intimate conversation. The tea being the song and the singing and live performing of the latter. Not to say that making writing, producing recording etc... isn’t part of my core set of thoughts that I feel a must. Going out on tour and on to the stage is a chance to walk into that enchanted empty space where the imaginable worlds are opened up. Both the audience and player set in a tryst. The Theater with No Name, that lover in the crash, that face, children aglow etc...

Rhiannon: The “Dust” concerts had a mystical feeling about them. What can your fans expect at the “Unshattered” concerts?

Peter Murphy: I can see it in front of me, but if I tell you too much then it might not happen the way it’s supposed to. (the show that is) It’s like I’ve got a secret and there’s a time and a place to meet and tell it. Those who take up the invite, smart those who don’t, won’t know any different anyway. I’ve said it before and I’ll say it again, there’s no one like me around, and it’d be wise to catch me while you can.

Rhiannon: For many years now you’ve had a very loyal fan base in the Goth scene and you have cult status among many different groups of people. There is obviously a lot of love and affection cast your way. Are you surprised at the amount of loyalty your fans have to your career?

Peter Murphy: No! I’m sure that the degree of my own commitment to my songs and shows will be returned by a like minded audience. Like attract like. Loyalty begets loyalty. I deserve my audience as do they deserve me.

Rhiannon: You seem quite enigmatic to your fans and we love to try to decipher your lyrics. You seem to speak in symbols and images that draw us into a journey with you. Since you are our tour guide, where do we find Peter Murphy right now in his life?

Peter Murphy: Sometimes a glance can say more than a long speech, the way you talk to the other more telling than the words, The style of my lyric writing is as natural as walking, unpremeditated and often spontaneous. This doesn’t mean to say that meaning isn’t important to me, but more akin to an attempt to describe the feeling of wind on your cheek. : It’s an impossibility. The best that can be done is to take the listener through a story of evocations or intimations that lets the wind in. Whatever subject comes up in a song then it’s a matter of getting it through without being in the way; though I do get didactic sometimes, like in “Give What He’s Got”. Apart from all the above, I’m a singer first and foremost, and I love to sing to myself and others, and what’s become very evident is that I’m a really really good one at that.........Which is nice!

Rhiannon: Reflecting back on your time with Bauhaus, you seem to have found a more peaceful, happy day...if we’re deciphering your lyrics correctly that is. Looking back, did you any idea of where you would eventually end up musically? Does the longevity of your career surprise you?

Peter Murphy: No! I’m afraid to admit that I knew it be the case the moment Daniel and I began writing songs for what was to become Bauhaus. A steel certainty. On that happy / unhappy stuff: Well that’s a book in itself which I might just pen one day. But for now, I would recommend going to see Whale Rider.

Rhiannon: After you moved to Turkey, many people thought you were going to fade away, but instead you seem to draw from the energy of that country. Did the change from Western culture to a more Middle Eastern culture change your perspective on life and your music?

Peter Murphy: I fade away and come back on a daily basis, going to Turkey has been and is still the journey of getting to know my self ...the place to start if you’re hoping to keep your work and love clean.

Rhiannon: You have once more emerged with a new sound in “Unshattered”. It’s quite different from your previous work on “Dust”, which was beautiful in its Middle Eastern influence. What was your inspiration for your new sound in “Unshattered”?

Peter Murphy: I took the album nigh on finished to Gardner Cole the Producer and didn’t have a feeling for what Gardner could add to the finishing of it. In fact, I was placed in a corner whereby I was almost forced to go in this direction. Talking with Gardner I also found myself disagreeing with a lot of his approach. I decided, rather than to go against this and trust my self exclusively, that I would walk away for the final bit of recording and give it over completely to Gardner. What he has added is an almost perfect degree of live rhythm section and new guitars, backing vocals and players that transformed profoundly yet has not changed the songs either. I’m still agog at how scintillating and brilliant the album sounds on the speakers.

Rhiannon: I read some reviews of “Unshattered” where the person said something along the lines of “He’s happy...well..uh..as happy as he can be.” Listening to “Unshattered”, you sound like you are in a much more peaceful place. Is that why you named it the album Unshattered?

Peter Murphy: To tell you a secret, the last bit of the making of, was a very very very unhappy time for me personally. So there, see what assumption do for you. In fact I am in a very peaceful place, and simultaneously ready to explode in rapture at any moment. (But I tend to save the rapture / exploding bit for the touring... it’s easier that way you know!)

Rhiannon Frater

Tripwire
Live - Peter Murphy Returns To NYC

In a perfect world, Peter Murphy would have performed at a much larger NYC venue. He would have played multiple sold-out shows at a residency at the Bowery Ballroom, or perhaps Irving Plaza. His name alone should spread excitement throughout the entire NYC music community. From his days in the legendary Bauhaus to his latest solo works, his unique voice and unparalleled talent should put him in the same realm as David Bowie or at least Robert Smith. Yet here we are in 2005, where his devout fans must trek to BB Kings in order to see their gothic legend. Those fans were given a musical experience that they will never forget. From the moment Peter Murphy appeared on stage, his legions of followers were fixated on every word, every gesture, and every note that he unleashed. After over two decades of making music, one thing became blatantly clear: his golden pipes have never sounded better. The power and range of his voice is astonishing. He opened with "Gliding Like A Whale", which proved without a doubt that he still rules. His theatrics during "Deep Ocean Vast Sea" came to a peak when he recreated his pose that appears on the cover of his album Deep. At this point the entire crowd was eating out of his hands. My personal highlight from Murphy's set was "I'll Fall With Your Knife", which is from his Cascade album. As so many rock icons age, they lose their spark. Their looks fade, their voices loose their edge, their live performances begin to weaken, as does their songwriting. In Mr. Murphy's case, he has only gotten better with age. His voice is top notch, hitting notes that seem to shake the walls. His fans know the words to every song, both old and new. He commands a stage with ease. Peter Murphy is a superstar trapped in a cult star's body, but perhaps music this amazing is just too smart for the mainstream. Modern rock would have never developed without Mr. Murphy's days of fronting Bauhaus. Do yourself a favor and go experience his solo efforts as he continues to support his latest album Unshattered. Chip Adams

Pitchfork
Peter Murphy to Tour U.S.

Peter Murphy to Tour U.S. Timothy Najmolhoda reports: It was last October when Viastar released Unshattered, Peter Murphy's eighth solo full-length, and now Peter (not to be confused with James, Eddie, or a Dropkick Murphy) is finally making it to the U.S. to promote the album. The tour comes at an opportune time, as Murphy is already in the U.S., having played Coachella with Bauhaus. Anybody hoping to hear songs by that band better have made it to the festival, as Murphy plans to stick to his rule of playing only solo material on tour. "I've never played Bauhaus songs, because there's a distinction: that's the band," he recently told Rolling Stone. "Of course, there's an audience there. And, well, within the next several years I might just do a Bauhaus cover tour-- make it a real event." His liberal use of the "C" word is sure to spark debate among hipsters

Supporting Murphy on the tour will be piano-songstress Sarah Fimm.

The tour covers quite a bit of May, and the United States:

05-12 Orlando, FL - House of Blues
05-13 Atlanta, GA - The Masquerade
05-15 Washington, DC - 9:30 Club
05-16 New York, NY - B.B. King's Club
05-17 Cleveland, OH - Odean Concert Club
05-18 Chicago, IL - Metro
05-20 Denver, CO - Ogden Theatre
05-22 Portland, OR - Roseland Theater
05-23 Seattle, WA - Showbox
05-24 San Francisco, CA - The Fillmore
05-26 San Diego, CA - House of Blues
05-27 Los Angeles, CA - Music Box At The Fonda
05-28 Anaheim, CA - House of Blues

* Peter Murphy: http://www.petermurphy.info/
* Viastar Records: http://viastarrecords.com/

Rolling Stone
Peter Murphy Cuts It Up

Peter Murphy, the gaunt frontman of Eighties goth-rock pioneers Bauhaus, is readying an international tour in support of his eighth solo album, Unshattered . The jaunt kicks off just days after a Bauhaus reunion concert on April 30th at the Coachella music festival in California.

"It came up as a sort of radical offer," Murphy says of the reunion gig. "So I thought, 'Why not?'" This will be the second reunion stint for Murphy, guitarist Daniel Ash, bassist David J and drummer Kevin Haskins, who embarked on a full-fledged Bauhaus international tour in 1998. But Murphy is skeptical of new material coming of this one-off show. "We're not in touch a lot, really," he admits, "but we'll always be friends. We were childhood friends, you know."

With evocative singles such as "Bela Lugosi's Dead" and "She's in Parties," Bauhaus lasted a mere four years, but became the stuff of cult legend. After their 1983 breakup, the members (minus Murphy) went on to form pop outfit Love and Rockets, scoring a 1989 hit with "So Alive." Murphy, however, spun his dark vocals into a solo career that is now entering its third decade and includes the 1990 modern rock chart-topper "Cuts You Up" and the 1992 hit "The Sweetest Drop."

"Mine hasn't been a designer career," he says. "First off, Bauhaus doesn't fit in anywhere -- and I think of myself as a wanderer, or maybe a novelist. I go away and do my work in my own downtime and space." From his childhood, Murphy imagined himself a singer, learning hymns at Catholic school and Irish rebel songs from his father. But, surprisingly, his first obsession (at five years old) was Doris Day. "I loved her!" he gushes. "She was this mythical, perfect, wonderful lady who lived in America. I sang along to her record all the time."

It was the glam rock of T. Rex and David Bowie's "Ziggy Stardust" persona that eventually paved the way to Bauhaus' look, inspiring Murphy's first fashion-victim haircuts as a pre-teen. But by the early Eighties, when magazines were labeling the band's sound "goth," Murphy insists he had already moved on. "'Goth' seemed like a media event," he says, "just early attempts to take the most obvious elements of what we were doing and run with that. I don't really understand it. I'm almost more like a -- I dread to say it -- a religious seeker, an existentialist. There are so many bands now that are casualties of a designer attitude, and it just makes them safe. You have to somehow leave all that and go out to the desert in order to be open and naive and creative."

In recording Unshattered , Murphy worked quickly, recording all over the map, in cities as diverse as Los Angeles, Phoenix, London and Istanbul, where he's lived for thirteen years with his Turkish wife. "It's a travelogue in that way." Murphy's many stops picked up guests such as drummer Stephen Perkins (Jane's Addiction), guitarist Peter DiStefano (Porno for Pyros) and his Bauhaus mate Haskins, who also co-wrote the track "Blinded Like Saul."

The record is lighter than Murphy's typically moody material -- something Murphy attributes to Gardner Cole, who, oddly enough, produced Eighties hits by Madonna, Tina Turner and Chaka Khan. "He wouldn't get into the layers that I would have automatically added," Murphy explains. "He spent three weeks with the recordings, added live drummers and a couple of guitars and made the vocals really loud. He said he really wanted to let my voice show."

In an approach that Murphy has held to since his Bauhaus days, Unshattered was written, recorded and mixed in just eight weeks. "I've always loved spontaneity, writing from an improvisational approach -- especially since I'm untrained," he says. "A lot of the Bauhaus albums were recorded with a brilliant spirit, and we'd give ourselves two weeks to do everything."

Looking forward to performing the new songs on tour (in front of a Dada-esque backdrop made from "found objects"), Murphy admits that there's a diva within the goth. "Just to be able to sing live is something else. And lots of people will be looking at me, and I like that," he says with a laugh. "No, I really like that! For God's sake, I should have been playing in stadiums by now!"

He'll be drawing upon material from throughout his solo career, while steering clear of his beginnings. "I've never played Bauhaus songs, because there's a distinction: that's the band," he says. But the statement comes with a proviso. "Of course, there's an audience there. And, well, within the next several years I might just do a Bauhaus cover tour -- make it a real event."

As for Coachella, what Murphy is perhaps looking forward to most is seeing earnest Brit pop band Coldplay perform. "I just love that first album!" he says, confessing a bit of a crush on frontman Chris Martin. "He's so good-looking, isn't he? But, apparently, he hides himself onstage behind a piano. I'll hold his hand when I see him and give him some tips. Like, 'I know it's hard, but if you get even twenty percent of what I do down, you'll be fine.'"

PollStar
Voice of Bauhaus

April 30 marks the start of season of glam-goth celebration that will last through the month of May. Between a Bauhaus reunion show and a Peter Murphy solo tour, you may run out of black eyeliner.

The gloomy fun starts at the Coachella festival, where Bauhaus will perform for the first time since their reunion tour of 1998.

From there, Peter Murphy, lead vocalist for Bauhaus, will head out on his own tour, placing his theatrical voice in front of American audiences for the first time in three years. The tour kicks off at the House of Blues at Lake Buena Vista, Fla. on May 12.

He'll then head North to hit Atlanta, Washington, and New York, and then move on Westward for shows in Cleveland, Chicago, and Denver. The tour will finish up with a string of dates on the West coast - the last being played in Anaheim, Calif. on May 28.

Bauhaus began in 1978. Their Ziggy-Stardust-meets-Count-Dracula look initially got them dismissed as a glam-rock knock-off by the British media. But, after releasing their first single - "Bela Lugosi's Dead" - in 1979, the group developed a major cult following that continues to grow even today.

The band became a driving force of what was shortly thereafter dubbed goth-rock. As their musical sophistication and popularity grew, internal disputes began to fracture the band and they announced their break-up in 1983.

Murphy, for his part, began a solo career writing music that often broke beyond the goth aesthetic of his early days. He scored hits in the early 90's with "Cuts You Up" and "The Sweetest Drop."

Murphy's latest tour comes in support of his newest album, Unshattered. This is his eighth studio LP and it was recorded in a number of cities, including London, Phoenix, Los Angeles, and Istanbul.

Murphy also enlisted the aid of Jane's Addiction drummer Stephen Perkins, Murphy's writing partner Paul Statham and producer Gardner Cole. The album also contains music written by Murphy and Bauhaus drummer Kevin Haskins.

A future tour featuring just Bauhaus tunes is a possibility for Murphy, as well. "I've never played Bauhaus songs, because there's a distinction: that's the band," he said. "Of course, there's an audience there. And, well, within the next several years I might just do a Bauhaus cover tour - make it a real event."

IGN
Peter Murphy Live Bauhaus founder announces Spring 2005 U.S. tour

April 15, 2005 - Bauhaus founder and solo performer in his own right Peter Murphy will embark on his first U.S. tour in support of his eighth solo album Unshattered , which was released in the Fall of 2004.

The tour commences on May 12th in Lake Buena Vista, Florida and will be a three-week, 13-date jaunt across the U.S. It marks Murphy's first solo tour in over three years and will come on the heels of his late Spring/early Summer appearance at Coachella.

Murphy will tour with a full band, including drummer Justin Bennett (Skinny Puppy), guitarist Mark Gemini Thwaite (Tricky, The Mission) and bassist Jeff Schartoff (Human Waste Project).