Peter Murphy – Silver Shade (Metropolis Records) (13th Floor Album Review)
While most 67-year-olds are dead-heading roses, improving their golf swing, educating themselves on fine wines or bouncing grandchildren their knee Peter Murphy, the frontman of legendary post-punk pre-goth rock outfit Bauhaus, is still pushing the envelope and recording new music.
His latest offering, Silver Shade – the first collection of original music from Murphy since 2011’s Nine – is in familiar territory with the familiar driving kick drum and heavy synth feel and more than a hint of the pervading darkness that made Bauhaus so exciting.
Murphy is joined by some old friends on this outing with Killing Joke’s bassist Martin “Youth” Glover producing alongside contributions from Trent Reznor of Nine Inch Nails and Boy George on an assemblage of songs that will have you up and jumping around with the lights off and the volume turned full on.
There’s more than a nod to David Bowie and Iggy Pop on this album. His long-time heroes and strong influences on Murphy’s music lurk in the background on every track even as his personality takes centre stage.
The homage to his heroes is evident throughout this record and comparisons could be drawn to Black Star, Bowie’s final release on his death in January 2016, with songs confronting mortality, standing and legacy.
“I’ll go sit with the lions soon…” Murphy croons in the opening track Swoon, hopefully not foretelling his impending departure.
And on Let The Flowers Grow he sings, “But I was born to feel alone, without your love I’m just a stranger.” – thankful to his many fans yet laced with the realisation that fame is fleeting. The candle’s flame is easily snuffed out, wisps of smoke the momentary reminder of a light that burned bright.
As an artist ages they are always confronted with their reach. Do they still have an audience? Is anyone still listening? Are they still relevant?
With the thousands of fans who regularly flock to be seduced by Murphy’s powerful voice and compelling backing track the answers to those questions seem moot.
But there’s been over 500 full moons for Murphy to howl at since Bauhaus crept into the darkness. And when the Vampire is raging against the onrushing dawn, maybe it’s time to get back in the box.
The music sometimes conjures an image of Murphy’s angular frame backlit by a powerful strobe, his Nosferatu-like shadow reaching far into the audience.
The theatre of music is in full play here, but opera can be overly melodramatic: it’s a fine line between charismatic and camp. Silver Shade feels more Phantom than Fledermaus.
With too many soaring guitars and Murphy’s powerful voice wailing over the top I’m reminded of my 20-year-old daughter telling her old dad to stop droning on.
The sexy menace Murphy exuded with Bauhaus is still there. With Bauhaus I would readily offer up my neck and I occasionally tilt the head and reach for my collar at times with this album.
But mostly I feel – pass me the garlic!
Alex Robertson
Peter Murphy’s Silver Shade is out now on Metropolis Records
