PETER MURPHY - Unshattered

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 talismanic 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 on his 2002 album - Dust, which mysteriously combined both Eastern and Western music styles on what was a dark, deep, yet somehwat 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, amidst 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 DiStefano - Porno For Pyros) - a track that seems to typify all of Murphy’s trademark characteristics, to the following Kiss Myself – with its bluesy accordion, jangly guitars and a stonking chorus – this track is quite superb.

Elsewhere, Piece Of You wrestles with the dichomoty of pure pop melodies and contemporary, curved indie-rock, 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 Ervic Avery and Steven Perkins – Janes Addiction, 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 One’s 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 the strongest album to date of his solo career.



	PETER MURPHY - Unshattered
	8.5
	Viastar Records ~ VIA0411 ~ July 2005
	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 talismanic 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 on his 2002 album - Dust, which mysteriously combined both Eastern and Western music styles on what was a dark, deep, yet somehwat 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, amidst 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 DiStefano - Porno For Pyros) - a track that seems to typify all of Murphy’s trademark characteristics, to the following Kiss Myself – with its bluesy accordion, jangly guitars and a stonking chorus – this track is quite superb. Elsewhere, Piece Of You wrestles with the dichomoty of pure pop melodies and contemporary, curved indie-rock, 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 Ervic Avery and Steven Perkins – Janes Addiction, 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 One’s 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 the strongest album to date of his solo career.