Music Republic Magazine recently featured Peter in their “Track Record” feature, which previewed his upcoming release Silver Shade and where he answered their questions about some of his favorite music . Find the link to the entire article here:

https://musicrepublicmagazine.com/2025/04/peter-murphy-bauhaus-track-record/

Out today (on Bandcamp and all major streaming platforms) and on Peter Murphy’s upcoming album Silver Shade, to be released 9 May, 2025.

https://petermurphy.bandcamp.com/album/the-artroom-wonder

“‘The Artroom Wonder’ is an echo from my fourth year at senior school. Daniel Ash and I are listening to the mysterious sixth-year cool intelligentsia that have gathered in the artroom. We have dared to enter their conclave, and the music coming from it was intriguing. We discover that the song being played is ‘The Bewlay Brothers’, highly intelligent, mystical and sensual, with the singer’s voice as seductive as anyone I’d ever heard."-Peter Murphy

The song features Tool’s Justin Chancellor on bass, one of many guest musicians on Murphy’s album which will be released on double vinyl (with color variants), CD, and digital formats on 9 May. Produced by Youth, the album is the second album that the pair have worked on together since 2014’s “Lion”.

📷 E Gabriel Edvy

Peter Murphy’s highly anticipated new album Silver Shade, his first new studio album since 2014’s acclaimed Lion, reunites Peter with producer Youth and features 12 new original songs.

Available on digital download, CD, and limited edition 2 LP Black vinyl. Limited edition 2 LP Silver vinyl exclusive to Bandcamp. Silver Shade will be released on 9 May, 2025.

Bandcamp:: https://petermurphy.bandcamp.com/album/silver-shade

UK shipping LP: https://www.plastichead.com/peter-murphy-silver-shade-2lp-vinyl-double-album-met1353v

UK shipping CD: https://www.plastichead.com/peter-murphy-silver-shade-compact-disc-met1353

German shipping LP: https://www.deejaydead.de/de/peter-murphy-silver-shade-2lp-vinyl-2025

German shipping CD: https://www.deejaydead.de/de/peter-murphy-silver-shade-cd-digipack-2025

A very limited number of festival passes are still available. Full line up announcement and festival information at https://meraluna.de/en/

Purchase download at https://petermurphy.bandcamp.com/album/swoon

Listen at https://youtu.be/ZPOgRAQdbtQ

The forthcoming new album Silver Shade will be available 9 May, 2025.

Produced by Youth, it is the second album that the pair have worked on together since 2014’s Lion. A symbiotic relationship born of artistic collaboration, Silver Shade is, as Peter recently attested, “as powerful as any of my work to date.”

📷 Chad Kelco

Pre-order Peter Murphy’s new single “Swoon” on Bandcamp at https://petermurphy.bandcamp.com/album/swoon

Release on February 14.

Peter: “I am often asked my favourite album. They all are except that Dust is a Masterpiece.”

9-10 August 2025 Hildesheim, Germany Ticket link/full lineup information at https://www.ticket-onlineshop.com/ols/meraluna/en/tickets/channel/shop/index/

22 June, 2025 at The National Bowl, Milton Keynes One day, 2 stages. The UK sister event of the Cruel World Festival will celebrate post-punk music, fashion, and literature.

Tickets on sale Friday, 6 December. Ticket link and festival information at https://www.forevernowfestival.co.uk/

Watch the video: https://petermurphy.bandcamp.com/album/let-the-flowers-grow Purchase the download: https://petermurphy.bandcamp.com/album/let-the-flowers-grow Available to listen on all streaming platforms.

Here are just a few of the wonderful fan comments on the Peter Murphy and Boy George collaboration:

“Earlier today I was wondering what's the use and what's everything for. For this. For beautiful music like this. The rare beautiful moments in life that we get. They keep us moving on.”

“Truly, one of the best and remarkable releases of this year! MILESTONE !!!”

“This is no ordinary music, it’s a masterpiece, please people make the right decision once in your life and make this no.1 in the official charts. Well done Boy George & Peter Murphy.”

“After listening to this song everyone realize everything will be OK. Maybe not today, maybe not tomorrow, but one day it's gonna be alright.”

“A song so deep, it will hit you in the heart for those who understand the complex packed in the changes of life...”

Limited edition giclee prints of Peter Murphy’s self portraits and iconography art works are available to ship in time for the holidays. Each print is numbered and limited to editions of 50.

Details and purchase link at https://sotamarketplace.co/pages/seller-profile/peter-murphy

Download available at https://petermurphy.bandcamp.com/album/let-the-flowers-grow

See the video at https://youtu.be/OsZzvTF7llY?si=xfW62Ssw9_cXO17G

The artists reflect on their collaboration: Peter Murphy: “I was recording my new album in Spain with Youth (Killing Joke). Whilst listening to a playback of a song during a lull, I heard a piece of music that was coming from his cell phone. It caught my ear for its melodic beauty as well as a Roy Orbison-like voice that sang the song.” Learning that it was an unfinished demo that Boy George had written, Peter was intrigued and asked Youth if he could work on the partial song. “In a matter of 20 minutes, we had ‘Flowers’ finished.”

Boy George: “When I heard the mix, I was satiated in every way. I have always loved Pete’s voice and his writing on this adds a beautiful darkness. The production feels very epic, like Scott Walker.”

This new track features these iconic, powerful vocalists delivering a message of acceptance and hope. Originally written by Boy George, its initial message was about personal acceptance of being gay. As the song developed, it took on a more expansive and universal scope, its lyrics extending beyond sexuality and embracing race, gender, creed, and religion. “With everything going on in the world about identity, ‘Let The Flowers Grow’ feels very powerful. It makes me dizzy and proud” beams Boy George. Peter remarked “Boy George loved it and I’m so glad that he did.”

Released via Metropolis Records and produced by Youth.
Peter Murphy photo: E Gabriel Edvy
Boy George photo: Dean Stockings

Peter would like to thank his fans for their questions. He received great questions that elicited very illuminating, evocative, and personal responses. His answers are some never before given in prior interviews and give unfiltered insight into Peter’s life and creativity. See the previous post for questions 1-30.

31.What does Peter Murphy dream about?Abandonment

32.What makes you laugh?I have a friend, a female who has such a terribly naughty sense of humor. It shocks.

33.What is the most adventurous thing you’ve ever done?Moved to Turkey, learned Turkish, immersed myself into the culture. I am nigh on Turkish.

34.What do you love most about life?To breathe is truly a gift

35.How do you overcome creative blocks?Sit myself down and move. Just apply myself and do it. Action.

36.Do you have any fears?I have a recurring nightmare about abandonment. Being lost and unable to find my way back. These dreams imbue the day, though dreams tend to work out and offer a solution to the problem.

37.How do you define success and fulfillment?To keep moving. Securing my family first. Accepting that I have fans who believe in me.

38.What is your favorite time of the day?One hour before dawn, the very time when it is said that the sacred saints and masters are present.

39.If you could relive one day or time from your past, just for the experience, which would it be?The birth moment of both my children. Indescribable.

40.How did you like filming your role as the “Cold One” in Twilight?Loved every minute of it from stunt training to it all. Even though I was in it for 15 seconds (bloody cheek).

41.What is your favourite black & white film?La Belle et La Bette by Jean Cocteau

42.I've read that the song "Marlene Dietrich's Favourite Poem" (absolutely beautiful song by the way, definitely my favourite one from your solo work) was inspired by a documentary you saw of Marlene Dietrich where despite her hesitation in revealing details about her personal life, she was quick to share what her favourite poem was, which was how she 'showed her true self'. Do you have a favourite poem or is there anything that you've related to on a deeply personal level?Oddly, the lyric to Eno’s Bone Bomb. Deeply moving.

43.I thought your Miracula concept of intimate shows taking place at a private location with a small crowd was brilliant. Do you have any future plans for these types of events in the states?I would like to put on a series of them in different countries.

44.You mentioned you would like to do a residency—are you considering any particular cities?Would love to do so in various countries.

45.You have always struck me as one of the most literate and intelligent of lyricists. What informs your lyricism; travel, education, native intelligence?Shakespeare’s genius and sometimes made up phrases that evoke meaning

46.Have you ever thought that you might share in a more narrative form your unique and beautiful human experience that has such a diverse and specific array of experiences?You are so kind. If I were to write a book, it would have to be unencumbered by biopic gossip-type storytelling but would be a more abstract sense of being with, of course, actual events.

47.Now that you are a recognized singer, did you ever think or visualize an ordinary life before entering the world of music?I was always singing believe it or not, as was my father and big brother.

48.Do you have a favourite tea?Darjeeling

49.What is your favourite flower?Orchid

50.What historical period do you think describes you best?None, only because I don’t fit in a good way.

51.What is your definition of a perfect day?Moment by moment

52.What is the creature/monster/legend that scared you the most?Serial killers

53.What do you like the most about yourself?Now that I am no longer stunning and am old I like that I feel just the same person as I ever was.

54.What are your memories of growing up in Northamptonshire?Close family. Good people. Weekly mass hymns. Long walks over the fields for hours. Brook jumping, apple scrumping. Running from farmer’s dogs. Discovering my first soft porn mag with Joe my mate. Ughhh.

55.The shimmery glam jackets you wear on tour are stunning!!! Who creates them for you? I designed them and my niece Zeynep made them. My polka dot mirror jacket I designed and Chantal my costumer made it.

56.What are your must-have tour essentials?My assistant Chantal

57.What was the first live concert you attended?My elder brother Daniel playing the lead in the school musical of “Hello Dolly”

58.What was the first album or single you purchased? How old were you ?A Hard Day’s Night. Beatles. 7 years old.

59.What is your favorite thing to cook?Bolognese

60.What is your favorite thing to grow in your garden?Jasmine

61.What do you think about when you’re on stage?I don’t

62.How has the experience of having a heart attack changed you?I just carry on.

63.Do your kids have any idea how famous you are or are you just Dad to them?Both

64.Would ever consider making a Peter Murphy biopic?People do ask me.

65.PERE UBU....those first singles are ESSENTIAL....what did you think the first time you heard “Final Solution”?David J played it for me at his house. We were listening to a host of songs that we felt related to us, Bauhaus, in 1979. Loved the song and went for it as my first single on ‘Should the World Fall Apart”.

66.Many artists have covered your work both with Bauhaus and solo. Are there any cover versions that you’ve heard and thought are any good?The band did not like this metal band Nevermore’s version of “Silent Hedges”. I, though, liked it. Imbermind’s cover of “Strange Kind of Love”.

67.I've always thought that the song "Antonin Artaud" captures perfectly the spirit of this absolute and tormented genius. Why and how did you find his life and work so inspiring?This was David J’s lyric and for us all an introduction to A. Artuad.

68.How many songs from each album do you typically leave on the cutting room floor never to see the light of day? How many of those songs are excluded only because they don't fit the album or its theme as opposed to being a subpar song?None really

69.Is it realistic to expect/hope you'll do more work with Paul Statham and/or the Hundred men?I doubt it. Love them all, though. I still write with Paul the odd song. He always has a song on each album of mine.

70.Why did the Murphy-Statham collaboration end?It hasn’t, see above.

71.When you worked with Paul Statham, what was the general creative process? Did you come up with song lyrics, hand them to Paul and let him create the melody? Or was it the opposite where he'd create music tracks and you'd pick the ones that piqued your interest and wrote lyrics to finish them?Paul would present me with a collection of instrumental ideas. I would weed them out and create and add music sometimes.

72.Dust is so hypnotic and spiritual. Might you have a future collab with Mercan Dede?Quite possibly.

73.What was the inspiration behind Dali's Car as a theme?Derived from my lyric. An account of a dream. To evoke a sense of the surreal, which I felt Mick’s bass playing was.

75.Have you ever considered playing the Dali's Car albums with other musicians?No

76.In addition to Justin Chancellor, I heard that Tool drummer Danny Carey is also involved on your new album. How did the collaboration with both of them happen?By a fortunate way of both good men wanting to play on the album. I am good friends with their manager and also have met Danny (a lovely human) and Justin here in Istanbul. I just couldn’t stop them doing it. Very chuffed.

77.When making an album, how do you decide when it is complete? Is it driven by number of songs? Contractual deadline? Money? Something else? All or none of the above?I work until I get enough for an album.

78.Who designed the covers of the Bauhaus albums?We all did. David J was good, too.

79.Looking back, what are your thoughts on “Go Away White”? I love the record and I think it’s very under appreciated. I am really fond of your lyrics on Black Stone Heart. Also, “The Dog’s a Vapour” seems out of place just from a production point of view in my opinion. What are your thoughts on that and was there a reason it was so different?We were just getting warmed up when we had to break for the NIN tour. We had intended to continue but as is our habit we split up just after the tour. I do like the memory of our collective chemistry in working solid for two weeks. Yes, “The Dog’s a Vapour” was an add on from an entirely different session.

80.Was “She's in Parties” written about a prominent German film director active in the 1930s?No

81.Your Bauhaus band mates kept working on "Burning From the Inside" while you were recovering from Pneumonia. What songs were completed and/or in progress at the time you fell ill? Which songs were in progress when you returned? Which songs were created from scratch after you returned? Were "Honeymoon Croon", "King Volcano" and other songs exhumed from the Bauhaus archives included in the album as a means to finish the album quickly or were they always intended to be in the album?Yes, the songs that were developed prior to my re-joining the band were more or less completed by my own vocal redos and became Bauhaus songs proper. “Burning From the Inside”, “Honeymoon Croon”, “In the Night” were from scratch.

82.Why didn’t Bauhaus play "Party of the First Part" in concert? I'm not referring to the voice tracks borrowed from the cartoon, but the jazzy music you play as the backing track. Why did Bauhaus never make more songs along those lines? Any credits you can share on that song such as who played what, or wrote it?Because it was improvised on the spot and not doable live. Not least because we never used keyboards live as a rule, except for the monotone Wasp on “Of Lilies and Remains”.

83.Did you still think albums are relevant to your career in today's music industry climate? Or do you think it's better to do smaller targeted releases like an EP or single? Do you have a preference of format to release your music?I am a believer in album creations which carry a story line of a collective whole. Though I have a non- album track special (unexpected some will say) single coming out in November. With Bauhaus, I did value putting lone singles or EPs out.

84.How sore does your throat get after a show? How much time do you need to recover to be ready for the next show? What is your routine in the hour before you walk on stage to perform? Do any of these differ whether you're performing solo vs. with Bauhaus?My voice tends to be strong. It takes 2 or 3 shows to become consistent and if it isn’t then I will use my voice differently but not too much. I generally stay quiet between shows even though I’m a chatter box. Drink water, lemon water. Rarely warm up. Bauhaus songs tend to be more eccentric and character-based with some very high pitched songs such as “Spy In the Cab”, “Passıon of Lovers”. As I rehearse them I easily find the original voice in my throat no problem.

85.You have such a beautiful voice! Which song is the hardest to sing for you? Which one requires your energy - body and soul - at the fullest?If it proves to be too hard to recreate live I just won’t do it. None of them are hard actually since they came from my body in the first place. I revel in singing “Your Face” and “Subway.” Also “Flat Field” and “Stigmata Martyr”.

86.What advantages does your voice have now vs. your younger self relating to vocal qualities? I’m not sure. I do find, as I mention above, that I can easily find my original voicings in my throat. Singing is a full bodied experience. The throat the final tuning muscle but the profundity or character of the intent is summoned by the entire body. A mixture of full presence and being totally relaxed yet fully physically present and, most of all, summoning the soul that is singing to you, the audience. I do not separate myself as some separate speaker. I am telling each of you my messages aimed at reaching you. Without you there is no one to touch or to exist. It is an act of passion to create an event for you watching. I am, I would say, a hopeless romantic yet can be quite serious and take you deep into a journey. It is a very valuable gift to have been able to do what I do.

87.What have you long wanted to do, but have never done (career wise)?Acted with at least one great actor.

88.As an artist, did you ever feel that you did not fit in the times in which you were creating? Did you ever feel ahead of your time or, on the contrary, that you were making music that would fit better in another era?It is impossible for me to know where I fit, actually. I think being ahead of the trend is manifest and decided by the listeners. I do believe that, having witnessed my audiences, a few of whom have probably never heard of me, and seeing a genuine amazement in their reaction. This demonstrates that there is future value to my work. Also, the work may not receive the exposure that it could have and therefore remains in obscurity until such a time that you loyal fans spread the word. Plus I’m an old goat now. Still a bit gorgeous but I can’t be worrying about all that.

89.Are there any recording techniques, instruments, styles, or trends you absolutely refuse to use in your own work? If so, what are they?Slide guitar. Lazy drum loops or samples. Real killer drummers are gold dust. I choose producers like Youth who are naturally aesthetically aligned with my attitude. We are cut from the same cloth. Killing Joke and Bauhaus double headlined in 1980. Youth even then was super charming and spoke like an all round creator. Very much fond of him. He is so chill yet a taskmaster. But with me I’m one step ahead of him and kill the song, leaving him the luxury of producing on a higher level.

90.You've written about some pretty extreme topics, or topics in extreme/intense ways over your career. Are there any topics that are off limits to you? How have your boundaries changed over your lifetime?Clearly never a sex-oriented subject. Avoid politics. Never about “chicks” or misogynistic rubbish, though I have two songs on the subject of female groupie types, “She’s in Parties” and a new one on my new album to observe the dangers to women who chase fame or the famous. How they will end up disenchanted. That’s all.

91.How does one surmount the struggles of life? Not necessarily contending with the fact it must end but rather just existing from day to day?As I mentioned in a previous question, every breath is a gift. Contemplate what you have. Imagine those in the shit. Palestine, Korea etc... deny unhappiness a place. Change if you need to.

92.What do you think about peak experiences, and the concept of the dual nature of things?Clever you. What do I say to that now?? Think on the idea of unity of being. That is oneness. There can be no “other” of thing separate. I suspect this is a way to discover being. Connectedness.

93.What biggest, deepest and true spiritual lesson have you learned in your life? And how do you apply it to your life and your art? I understand that you are a traveler on the path of a Sufi tariqa. By what means have you progressed on this path? Can you use music as a support for your own progression? And what is the connection that binds you to a sheikh?I cannot speak of this stuff, not being a teacher but a student. Read Rumi’s poems.

1.Peter, outside of you, your family, and band mates, who do you credit most for your success and/or helping you on a path to succeed?Daniel Ash most definitely. Not only was he an inspiring, fascinating school friend who had natural charisma, but he also enjoyed our common orientation toward the then Bolan, the creature that was Bowie and all that represented: a total, one-off arthouse beauty that inspired me to get a Bowie cut (probably the 1st kid in England to do so). Later, at 20 years of age, Daniel grabbed me by the coattails and in 2 days we both had half of “In the Flat Field” written even before DJ and Kevin joined. A great escape.

2.What musical instruments can you play well? How long have you played them? How did you learn? I don’t play any instrument well, but after learning two or three chords tend to come up with songs like “All We Ever Wanted”, “Hollow Hills”, “Strange Kind of Love”, “My Last Two Weeks”… the innocence shapes the song in those cases.

3.What is the longest amount of time you've spent on a single project? What is the shortest?Longest, “Deep” being three months. Shortest my new album. 7 days.

4.Do you have anything in your life that you considered a failure that you salvaged and turned into a success? Only my ever self-critique, salvaging failure to, I hope, transform in to a more refined personal quality.

5.Is there anything you've done that you were immensely proud of at the time you completed it, but today no longer hold in the same light? Is there anything that you were minimally satisfied with at the time of completion only to look back on and be very appreciative of it today?This question induces a train of thought that pushes you to be mistakenly over self-critical. Everything you do, even words you say, set in motion an effect. Some even say that every word resonates eternally. That aside. pride is as much a foolish thing as it is self-effacing. No way do I let any of that get to me. Even a musical mistake can be the most inspiring bit of a song.

6.When preparing for singing “Bela Lugosi’s Dead” upside down at Coachella 2005, what issues besides blood rushing to your head did you have to deal with to pull it off?I am the type that just loves and is pushed to perform, do stunts, create theatrical moments on stage. When I told the band that we should open with “Bela” (by convention not an opening song), I, without hesitation, envisioned myself doing it upside down, a genius and super cliche spectacle. We had 2 weeks full rehearsals whereby I got ahold of yoga hanging boots and did “Bela” upside down every day. The rush of the head was very enjoyable. I just loved being what I am for Bauhaus and my own work: A quintessential performer.

7.I have always been inspired by your fantastic, dramatic use of light and shade on stage. How much time and effort goes into organizing the lighting and other effects as part of your stage performance? Do you direct and guide all of that? Also, when you were starting out was there anyone’s stage show lighting that inspired and blew your socks off?Even with few lights and resources, I would always have long conversations with the lighting designer as to some basic lighting positions for me to use myself in performance. When I have had a budget to hire a lighting man, such as Martin Phillips (who knows the songs backward and forward even before we start), there are more precise cues that Martin creates and also takes instruction from me. Example: My “Stigmata Martyr” moment with use of mic stand as prop set against a luminous backdrop. But I always go off script and begin to use lights around me. This keeps the lighting designer on his toes. PS Martin Phillips is a great LD.

8.Your crown and suggestion of a cross - with the subtle flick of the mic stand…Do your stage moves come organically, or do you take advice from other friends and family?All my own ideas, yes.

9.What is your ideal venue for performing? What do you like to see in a venue that motivates you to perform your best? Do you prefer to interact with the audience, or be separated?Honestly, all and any venue, big or small, once filled with people is electrifying.

10.What's the most fun you've ever had on stage? Any songs you particularly had fun performing?It is more like the thrill of designing a show set that has dynamics and as I do the show I am thrilled at embodying the flow of songs, thrilled at knowing what comes next for the audience. It is all about the audience. I reach the eyes of the furthest circle back row of an auditorium.

11.What was your favorite album to make?Must admit “Love Hysteria”, “Deep”, and yeah, my new album to come out in 2025.

12.What is the most memorable live performance that you have attended ...memorable in the sense that you have never forgotten it because it greatly impressed you?This is not to say that I was a fan at all, but at our local country rock club at 14 years old Judas Priest played. I was at the front right under Rob Halford. I marveled at his vocal brilliance and more so how he used a floor light to uplight himself. It was both menacing and powerful. I always thought Rob belonged in a better band to be honest. Lovely man too.

13.Have you ever considered on making a movie soundtrack? If so, what genre of film would you make a soundtrack for? If you were to write the soundtrack for any film past or present, which film would you choose and why?Having listened to Trent Reznor and Atticus Ross’s work, especially for “The Killer”, I would be very up for doing a soundtrack.

14.Would you expand on Seven Veils?Seven spiritual stations of refinement. Reality is right there yet it is us who veil it with our gross sense of 'I'. All we need to do is to find a teaching that guides us with the manner of living that guides us through each veil.

15.What does “Cuts You Up” mean to you?Oh stop that. You tell me.

16.I think the song “I Am My Own Name” is beautiful. How would you describe its meaning?Self-acceptance. The putting aside of self-hate. Becoming yourself. You have a divine name unique. Be it.

17.What was going through your mind when you wrote the lyrics to "Cascade"?It is a hymn-like evocation. Talks of a people who are pure of heart high souls and definitely not elitists.

18.Peter, In your song "Prayer of Jonas in the belly of the Whale" you mention Native Americans. I understand the Arabic. What is the meaning of this song?A chant devoted to a holy council of spiritual masters.

19.I have always adored “My Last Two Weeks,” from my first listen on the album when I saw you perform it live on that initial tour, to the stripped down versions you have played since. Would you be open to shedding any light on what was the driving force for you when writing it?A timeline of an early lover, through separation to finally finding the Rose eternal partner.

20.How do you stay inspired to continue creating music and art?Like other artists, we are all lucky to be doing art, music. It has become what I am from an early age. It takes work and for me a stopping of any doubt or fear of failure and working with a flow that mostly delivers a song within one or two takes. Lyrics I always write in different setting. In a café, on a boat. I do not write with a melody in mind but as pieces of prose or esoteric pieces in their own right. You simply must sit down in front of the page and do it. It needs discipline to stop thinking and not to agonize.

21.In the years between records, do you make music and new songs, or does that only happen when you know you're going to make a new album?I do often with Paul Statham. The odd random song here and there. But since working with Youth on “Lion” and my new album, I purposefully brought only lyrics to the session. Youth and I, I think, are symbiotic. He will have prepared an array of instrumental pieces and I right off the bat form them into songs with vocal and lyrics. It is truly amazing for us all. I must mention the crucial third man in the mix Michael Rendall, the programmer/engineer.

22.One of your most underrated albums is “Unshattered”, are there reasons why you don’t play songs from it? Would you add it to a future residency or play songs from it on future tours?Sure

23.Hi Peter, do you think you will ever tour Australia again?I’d bloody love to.

24.Who has been your favorite musician to collaborate with?Youth. Bauhaus boys.

25.T Rex 3-in-1 question combo: The Slider or Electric Warrior?”Slider”All-time favourite song from T Rex /Bolan?”Cosmic Dancer”Have you seen them live in concert back in the day?No. Too young.

26.What Bowie album do you enjoy the most?I am listening to the batch that I ignored. “Hours” is cool. “Low”, though, has to be tops.

27.When you met Bowie the first time, what surprised you about him?His cordialness

28.Do you like The Velvet Underground?Sometimes

29.How do you feel about Nick Cave's work? Do you know each other? Have you ever thought of working with him?Nick supported Bauhaus in 1981 (stole my stage moves ::)) I love him as a true full artist. Eloquent. Kind as a buttercup. He is too good for me to work with.

30.I have been wondering for years about an album with you and Lisa Gerard. Have you ever considered that?Oh Lisa is a monumental high end singer. I don’t think I would do her justice.

“Let the Flowers Grow” will PREMIERE on rollingstone.com on 7 November and is available for presale NOW on Bandcamp https://petermurphy.bandcamp.com/album/let-the-flowers-grow

A deeply emotional masterpiece that features soaring vocal performances from both artists, the song is produced by Youth and released by Metropolis Records.

Press inquiries please contact Rey Roldan at rey@reybee.com

More information and purchase links below:

Peter Live Vol 1 Covers (Vinyl) US Store: https://shorturl.at/SG24d

Peter Live Vol 1 Covers (CD) US Store: https://shorturl.at/iVBem

Peter Live Vol 2: Blender Theatre (Vinyl) US Store: https://shorturl.at/A2nQb

Peter Live Vol 2: Blender Theatre (CD) US Store: https://shorturl.at/7lOJW

UK/EUROPE/ROW STORE:

Peter Live Vol 1 Covers (Vinyl and CD): https://shorturl.at/ZH2fp

Peter Live Vol 2: Blender Theatre (Vinyl and CD): https://shorturl.at/Pzp3P

📷 Rob Sheridan 2009