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Peter Murphy

The Last and Only Star

PETER MURPHY ” — Fucine Mute 34

Peter Murphy

The Last and Only Star
interview by Jamil Ahmad

Jamil Ahmad (JA): Hello Peter, welcome to Fucine Mute Web Magazine.

Peter Murphy (PM): Hello.

JA: Your live debut as a solo artist was May 22 1986 in Bologna. You performed an eight date Italian tour and one of those dates was actually Trieste. Do you have any memories of that tour?

PM: The tour to Italy was in fact the first occasion that I had to perform live since the final Bauhaus show in 1983. Three years in between I had made two records, one was Dali’s Car-The Waking Hour, then my first solo album Should The World Fail To Fall Apart. I felt a sense of fantastical excitement like a boy awaiting some long hoped for gift. This was coupled with (by then a dimmed memory) stage fright. That tour was as well, the time that I had put together my band which I later called The Hundred Men, who were to stay with me for seven years through many long and arduous album recordings and the wondrous tours that followed.

So I was going to experience the unknown element of an audience who were coming to see me for the first time as Peter Murphy. I was thinking about the nature of the performance and also how I would approach the audience in a performance context, and also how I wanted to communicate with the musicians who were from an eclectic group of sources and backgrounds. I was really concerned a lot on an internal level whilst we were touring, I wanted to investigate and learn how to inspire a band, how to inspire them into communicating that performance power, that I had really landed on, learnt and brought with me from the Bauhaus period. Where you get a band who were completely self-contained and hadn’t no need of a lot of verbal communications in terms of talking about the performance, where as Bauhaus would be very organic. This was like playing the role of a band member leader, solo artist and also a musical director, so that was all new.

We arrived and it was a very new and dangerous area, because I hadn’t really experienced, as I said, the audience post-Bauhaus, and it turned out to be thrilling and also partly odd, because there was an audience who were obviously there because I was in Bauhaus and this was almost like a fresh Bauhaus audience really. So I was possibly expecting to be compared with that-the Bauhaus performance in a sense. Then I realised that what I actually did in Bauhaus was what I was wholly from myself and what I was doing as a solo artist was just as valid and therefore had a similar quality in terms of performance.

I also remember going to a club, I think it may have been Trieste, I can’t remember the exact city or town that it was where somebody took us to a club after the show, and there were some Bauhaus videos, live video footage been shown on some screen in the club. It was really odd and thrilling to be able to look at that Bauhaus footage with the distance of three years, within the environment of the club and I can remember the impression I had when I was looking at it, it was almost like somebody you hadn’t seen before, because of the three-year gap. I realised how much power was communicated and what an amazing performing band that was.

There was one concert we gave in Bari; it was at an arts centre. I think the promoter probably booked me because of the Dali’s Car project. I’m not quite sure, but maybe they were expecting a less band-orientated concert, that was my impression. We played set upon the floor in this very wonderful arts complex. It was nice because, I remember thinking this was not the typical run of the mill rock n roll or punk or whatever venue, and that I was actually placed in the context of an artist in a fine arts institution. That was a great context in which to play a show. My performance was going to be viewed through the perception of a fine arts audience and that was really interesting. It really complimented part of my own belief in the kind of performance that I give. Which is much less…well it is in rock n roll or it is in rock if you like but not a post-punk band or alternative music, and therefore one was in it yet not of it, if you like. So it was kind of nice that.

Italy was my choice for my first solo foray, simply because I had great memories of my Bauhaus days there on tour and was and am still very attracted to Italy for some inexplicable reason, I mean for goodness sake, to go from the bleak midland of Northampton back in 1981 with Bauhaus to the city of arches “Bologna” was like being transported to an incredible, ornate and sensuous world with all those bella ladies of the town piazza, real deal espresso, town square cafe opulence and the crowds, oh! Those masses of energy…I was going to spoil myself on this occasion and though I found the audience curious to see HIM without THEM I enjoyed it completely. There was I remember a heightened feeling of sensuality about the tour, a kind of sensual intoxication (no details given I’m afraid)…I’m really looking forward to coming back to tour.

JA: Can we expect to see you perform live in Italy next year?

PM: Listen, I really miss and have been aching to play Europe as Peter Murphy for years, and it’s always been a problem. When I was signed with Beggars Banquet, they licensed my albums to European licensee’ and it was always the case of I would probably need a little bit of money to top up my costs on the road to make it viable. They didn’t want to tour support me (which is very common in the music business). Record labels, as a promotional aspect would sponsor the tour to a certain extent and make it possible for the artist to get around, but Beggars were really being awkward then, and really sort of penny pinching, which basically ended up meaning, in a sense that I was prevented from touring by my record company. I’m not slagging off Beggars, you know they had their reasons, but to me it was completely unjustified, and that was one of the reasons why I asked Martin Mills the owner of Beggars and a very good friend of mine to let me go, so that I could pursue other labels who would support me. You know it all sounds very odd to the fan, but this is how the business machine works.

When we toured Europe with Bauhaus it was very refreshing, we played Britain, Europe all over, it was great, I loved it and to this day there’s still a definite audience there for myself. By having not toured Europe it feels as though I’m being kept from my family, you know what I mean. So definitely, I’ve got all my guns firing down my managers throat about it, I’m going to become very prima donna about this next album, I’m going to make it happen and if not, I may just throw a tantrum! I definitely want to tour Italy, you know! Wherever I go in Italy or Europe people go “oh my god Peter Murphy, yeah, where, what, blah, blah, blah” what the hells going on, apparently I’m well known! There is an audience there, which I should be playing to. So that’s why I want to tour Italy, Europe etc.

JA: Actually, during October 1998, the Bauhaus Resurrection world tour performed a date in Milan. I was amazed, to say the least as to how much alive and fresh the Bauhaus concert was. It was like bearing witness to a new band, really alive and powerful. When I heard the studio versions of “Severance” and “The Dog’s A Vapour”, that Bauhaus power and spontaneity was very much alive, and I really expected that a full-length album would have happened, but it never did, which I think was a real shame. Do you feel that the Bauhaus Resurrection had more potential than a world tour full stop?

PM: Well the whole thing was done in a very typical Bauhaus fashion. The premise was how do you feel about coming over to do one show! And for me that was typically, a very understated proposition, in that, if you were going to wake up something like Bauhaus. The question that to whether we should reform and work together again was a loaded question, because it was something that I had definitely ruled out in the years between 1983 and the 1990’s. So the whole event developed on the fly, as it were.

Personally I am very precious about what Bauhaus meant, from what it was, what it represented and what it actually gave to the audience. I think we have a real place in music history, which is not recognised in a mainstream way and I also have the great belief that we were never really recognised for what we represented and did in the wider context of the press and media.

Something very special was awakened in me, because for all of us Bauhaus has…for me, I think perhaps more…I’m kind of like the protector of Bauhaus, and that’s not to criticise the others, but I think I’m extremely careful about Bauhaus activities even it be archival releases. And so when I agreed to go over to Los Angeles and meet the others, I went there with an open mind yet with a determination that unless I heard the right kind of comments from the rest of the band, that this was not going to happen. What you talk about; that unique quality that the band has when we work together, immediately stuck me when we actually met in the room. I invited them all to my hotel, the moment we were all in the same room there was this energy, which I recognised as being there present… it was something very beautiful actually and very wonderful. Then that was confirmed later that week when we went to try out playing some of the work, to feel how that was going to effect us, and of course all the time I was monitoring whether this was going to be valid for an audience as an actual active idea. The moment we plugged in was scary; it was like this was not like a retrospective, and all of us felt that.

I believe that Bauhaus broke up originally at a point where we had wasted an opportunity. But not that it was something we could have avoided, but in another world in another set of circumstances with different personalities we could have probably… we were on the cusps to become a very major world-wide success. However there was something beautiful in the fact that we did finish it at that time, keeping the interior secret quality, that wonderful quality that bands have just before they break into massive success. And so in 1998 That feel was obviously still alive and the integrity of the band too. You know, its something we can all talk about, what Bauhaus means to all of us, but I don’t think anybody, any of us are able to really explain and define what it is about it. But it certainly is affective… a very sort of pungent and noticeable quality that whether audience or band simply experience, on an intuitive level almost.

So that naturally went into a tour, because as the interior was confirmed, as the integrity was confirmed so was the exterior event. We were putting on trial shows elsewhere around the world the first other one being Chicago which like the Los Angeles shows, sold out within half an hour. Then adding other appearances likewise, the whole audience basically determined the tour that was to follow. There was such a powerful reaction world-wide that we simply rode that wave!

In terms of staying together, well! Then you get into a lot of complicated areas, in terms of personalities, in terms of the circumstances at the time. You can take it apart and give reasons, circumstantial and otherwise of the why’s and wherefores, but at the end of the day… there’s a kind of breathtaking naivety within the band which even though it had its positive values, it also had its negative values, in the sense that it would prevent us from ever reaching a conclusive, unified agreement about the whole matter. Even so, I was completely convinced that if I were able to rally the troops and somehow communicate my understanding about the band, it would eventually work out… I was certain about that. So I basically spent two years working on that with the other members, but as it turned out, that naive lack of ability to grasp the opportunity and ride the moment within the band was what determined that we would not carry on. I don’t think Bauhaus will ever (carry on)… I now realise that. I think that was our last final Bauhaus event, which was perfect really, because I think it was just like, as you say a continuation of the first 4 year period that we were together, in the sense that… we were like a burning star and we burnt really quickly. We shone brightly and burnt out… a part of me feels that there’s a great wasted opportunity, yet part of me recognises a poetic beauty about that and it somehow seems fitting in a way.

JA: Your latest CD release is called Alive-Just For Love, which is a special live 2 CD set; it includes the whole uninterrupted performance, which was captured during the “Just For Love Tour” in America last year. You were joined on stage by guitarist “Peter Di Stefano” and extraordinary violin player “Hugh Marsh”. Such classics as Indigo Eyes, All Night Long and Cuts You Up were reanimated resulting in a minimal but more intimate musical environment. I think that the CD has really captured the atmosphere of a live concert, in the sense that what you hear is not just Peter Murphy but also the relationship you have with your audience. That kind of energy, which makes you feel that you are actually part of the performance and not just a spectator. But to capture that on CD, which you have, I think is quite amazing. What was the inspiration be’ind the “Just For Love Tour” and can you tell us something, regarding the mixing and production of the CD set?

PM: There’s an ethic that I hold onto and that is, if you reach a state where you feel like there is no opportunity, make one. Or if you’re sitting doing nothing, you’re wasting the god given right of life in that very moment…that year was of a tour that I supported the Peter Murphy collection album “Wild Birds” in March 2000. Instinctively, I felt that this had to be the point at which something was going to happen to me, in terms of my own musical direction after the Wild Birds album. I felt that in putting the album together, that it was like a farewell to a certain period which lasted from 1986 until that point, which included all of my solo albums and the Re-Call EP, and that this would represent a culmination of the approach to the performance, arrangements and everything else that I made over the years on my numerous tours as a solo artist. So I brought together a band, which was a classic rock/alternative band, after which I had no idea of what I was going to do, except of course write an album. But during the Wild Birds Tour the audiences were not letting us go and even though I was playing for an hour and a half, which is long for me! So since I hadn’t rehearsed anything with the band other than the body of the songs that we performed, because of the incredible reaction from the audience I decided to go out and provide acoustic versions of some of the songs that I had not sung in the set. Basically, it was me just walking out there and being alone with one instrument, doing my songs. That gave me this really odd experience, which I had never really looked at before.

Actually, one person in the Washington show, a good friend of mine, made the remark… that even though the main set was powerful, the acoustic fifteen minutes contained a quality that was even more effective in it’s simplicity. He remarked, that he had suddenly realised that the voice was there and how powerful it was, how it was not just like another vocalist singing his work in a stripped down way, but the voice was such an orchestral power in itself and he would have liked to see a whole show like that… Immediately something woke in my mind and I remember thinking, oh my god that would be really something, that it would be very unique in terms of Peter Murphy and also in terms of the so called Unplugged performances, which artists have been doing over the years on MTV, which I never really liked that much. I had the feeling maybe my friend was right because people over the years, had often remarked about my voice and you know, it’s almost like I don’t really see that objectively or I don’t really have that much of an opinion about my voice. It’s almost like when you look at yourself in the mirror, you see what you want to see, and not necessarily what other people see.

I went with that and the basic premise of the tour was going to be just for love, because whilst working with Mercan Dede in Montreal a month after the Wild Birds tour, playing around with ideas that eventually ended up on the new album. Mercan got to talking about one of the numerous Montreal festivals taking place, which was called “Just For Laughs”, but I thought that he was saying “Just For Love”, because of his Turkish accent; thinking what a brilliant notion it was to create an event just for love. What that evoked in me was so pure, a performance, which was to be just for love; it was such a simple powerful idea. Then Mercan said something like “what are you talking about just for love, it’s called just for laughs, because it’s a comedy festival”. I said, “Oh, my God, I thought it was called just for love!” Mercan replied “no, no”, I then said “then this will be the tour that I’m going to do next”. He said “what?” I said, “Well, I’m going to go out and play just for love!” Mercan flipped on the idea. The proverbial apple had hit me on the head! Then a lot of people said “wait a minute, are you sure you want to do this?” I said “yes, whether I die during it or not, I want to do this!” It was a decision purely based on an artist reacting to something he felt was important, rather then being a careerist move or a strategic move or whatever.

So considering that the basic premise was I walk out on the stage and sing my songs… and I was going to basically do it alone, without any music either, but then I thought that might be stretching it too much. Actually another version of the tour was going to have me going out in a performance-like environment which was like a theatrical stage set and I would just sing a cappella all the way through, using props, the environment and myself only, with my voice and body as the main performance. Yet the more I considered that as a production, it was clear that it was going to be much more complex than I had imagined. So that’s something I’m considering making in the future, certainly not as a next live outing, it’s definitely an idea that appeals to me still. And because this would have been so complex in terms of production as well as costly, it would have gone against the idea of the simplicity of walking out with just the bare essentials and facing the audience. Rather as if I were to walk among the crowd and sing.

So I thought “ok, basics”. I would get on board Peter Di Stefano again, who had learned most of the songs from the previous tour, (Wild Birds Tour). I wanted to cut down in terms of rock guitarism and had to give Peter the direction that his role was going to be to provide the basic bedrocks of the chord elements in the songs. Then I’d also been thinking about Hugh Marsh as a result of going to visit Mercan Dede in Antalya in Turkey, where Hugh was playing in the Mercan Dede ensemble. That was a time where I had been curious about and checking Mercan out, because I liked his own work and Hugh happened to be playing with him at the time. I was knocked sideways with this violinist who was like Jimmy Hendrix, Michael Brook, Mozart and the heaviest jazz musician rolled into one. I thought, “well, he’s got to be the man, who’s got to play with me!” It was instinctive, as we have never played together before. I put it to Hugh that we were going to rehearse over two weeks, break the pieces down to almost nothing, build them up and go out and play them. And he loved the idea! I like to think that Hugh and I were born to perform together, because what he does, and I’m sure you can hear this on the live album. Hugh is such a versatile musician, what I enjoy so much was the way he would follow and compliment my singing, often changing from show to show keeping the performance always new. Just amazing!

That’s how I work; the first moment of the notion. That if you have no idea, and I imagine this is a description of how an artist works in any field… if you sit yourself down in front of a blank sheet of paper with no idea of what you are going to do, the very act of forcing yourself to do at least something, as the Sufi’s like to say; make one step towards your Lord and your Lord will make ten steps towards you… In other words, if you feel empty, then make an act, do something at least. This was the way in which the tour came about — the spark of the tour. From the moment that I accepted that I was going to do this without any preconceptions from the start to the very end. To me, this is an example and a proof that things come your way, if they are meant to. And if you have the intention you are rewarded with the outcome of that intention…it was not in my hands, as you know, and it was so wonderful.

Regarding the production of the album, I recorded it in much the same manner as this whole tour was done. It was without thrills, it was stripped bare rather then falling into the trap of hiring some over priced and over rated mobile multi-track studio. I recorded it on a DAT — 16 track, it was simply done, I mixed it in Montreal, because Montreal was a place that I was considering/planning to work on the new album, (which Peter has completed). And it was a way of testing out the studio environment, which ended up being The Planet Studio’s in Montreal. It all segued into that, and as it turned out, the first intention of this album, of getting Hugh involved and working with Mercan really segued in a very organic and fluent way. In this way the live album informs the new studio album.

JA: Your next album has been co-produced with Mercan Dede who I think with “Sufi Dreams” and “Journeys Of A Dervish” really managed to produce the right balance between middle-eastern and western music, in a very fresh and contemporary way. Actually when I first heard “Sufi Dreams” I was thinking that your vocals would have been perfect for some of the songs from that musical environment. How did your collaboration with Mercan Dede come about and can you tell us something about the new album?

PM: Well firstly this isn’t like Mercan’s “Sufi Dreams” album with Peter Murphy vocals over the top. Mercan is very interesting anomaly, as a Turkish person living in the west. He goes under the banner of a Sufi-inspired musician and has an alter ego! He has “Mercan Dede” which is more Turkish traditional scales and makams of religious music drawn from Turkish/Islamic culture. The other alter ego is called “Arkin Allen” an electronic D.J who takes and embroiders a very special brand of rave DJ electronic music that also incorporates a lot of tribal elements. Mercan is like a sponge, he will travel the world, and absorb ideas and artists that he needs, he will give them a voice through his own spearheading projects, so they can morph and transform into different manifestations. Which I like a lot.

Mercan was the first Turkish artist that I had heard over the years who convinced me, that if I were going to incorporate something overtly classical in a Turkish sense, to my music, it would have to be somebody who had an authenticity that was not just a sentimental reproduction of a 14 century man, which is what most of the Turkish traditional music has here in Turkey, of course which is great in it’s own context. But if you’re like me; a westerner that is aware of the so-called World Music environment and has made a decision never to ever approach a world music environment, because I consider that World Music is almost like Orientalism, it’s almost like musical tourism. It sounds like it’s authentic, yet it’s borrowed in a way, it’s not really understood. The spiritual, the ethical and the cultural things that formed that traditional music can only belong to the source culture and can’t really be represented in a way that’s as authentic as the original. So that’s one of the reasons why I never went into doing in inverted commas “A Turkish Album” because I thought that was bullshit basically and only Turks are able to do that, you know what I mean. So it would have been pretentious of me, yet that doesn’t mean that my albums are not heavily influenced with my own Turkish experience, because as it is now I’ve become almost like a Turk! So now I am in a position where I can safely say that I have a conversancy with what those Turkish elements evoke.

That’s when I chose to meet Mercan and ask him to come and join me on an album project with that idea in mind, because I recognised that he is a Turk who moved to the west and I’m a person who moved to Turkey from the west. Mercan was obviously very smart in recognising the coolness of western aesthetic, in terms of alternative ahead progressive elements of music and he’s integrating the Turkish element into that in the west. I thought Mercan would be the perfect person to understand what I was talking about in the sense of wanting those elements in my music. So this album was really formed with not “let’s make a Turkish album” it was like this is a Peter Murphy album complementing the lyrical themes and the performance themes that are really rooted in the heart of hearts, my experience in Turkey. So rather than plastering on and pasting on Turkish instruments in a way that was fake and touristic, this album had to come from a more authentic place… it’s completely out there and ahead, in the same way that Bauhaus were undefinable and very ahead, this album has that. I wouldn’t describe it as a world album, or even a Turkish or Western album yet it has the authentic brilliance of these beautiful Turkish people, these incredible Turkish musicians who are top-top world-wide musicians and they are so beautiful; with no sense of arrogance about them. It was a real pleasure to work with them. It’s been heartfelt three months, working on the album… and I think it’s going to be a surprising album for a lot of people.

JA: Your web site is quite beautiful, very pleasing to the eye and it looks very alive. But what I really like about it, is that it’s quite cryptic and because of this it keeps the viewer awake. Sometimes I get the feeling that you will end up on another level of the site that you didn’t expect to. It’s quite exciting. How much were you involved in the design and content of the site?

PM: I worked with another Turkish artist called Orkan Telehan. He is Ankara based and he’s one of those clever designers. I liked him a lot, from the conversations we had during our first meeting. The content was directed by Orkan and myself, a real collaboration and Orkan was impressive, in representing graphically what the PM site should look like. Because he wanted to know what I was about, meet me as a person rather than the PM icon. I found this very interesting because he was reacting to me personally. He had no idea of my history, which was cool in a way, confirming that I was on the right track with my own sense of communication of what I do simply because he didn’t bring any history with him of who I was. Yet he was reacting in the way that I hoped the audience would react!

We still work together and have plans for, you could say a cryptic sub level to the web site. That’s what my work feels like to me… it’s like when you have a conversation with a person or when you meet a person you experience many more levels of what that person is and vice versa. In a conversation a third element occurs which is neither of the people, yet, which informs each other about a more essential part of the people in the conversation. So when a person visits the web site, I’d like it to be almost like a conversation, as is a person listening to music and as a person coming to see the live performance. It’s the same act, yet in a different representation i.e.: a graphic representation. So I love the idea of not keeping it literal, but communicating in a way that hints at something beyond the apparent. Lyrically there’s a lot that you can… I mean if you want to know about Peter Murphy, just read the lyrics and it will keep you busy enough, because they are the autobiography in a sense. The web site is like a volatile live exchange.

JA: Apart from the two stunning TV advertisements for the Maxell tape company in the eighties, your appearance in the Tony Scott film The Hunger, you also played the main role in a short film called The Grid. Have you ever considered the role of acting any further and do you have any particular type of film that you really like and find inspiring?

PM: Yeah, I mean this year “Crouching Tiger-Hidden Dragon” I think it’s such a brilliant film with lots of analogous elements and metaphorical messages in it. That really knocked me out, but that film is based purely on a Chinese cultural Taoist subject matter that could only be approached with Chinese people.

Acting is really attractive, the whole idea of acting and becoming absorbed in a character and really convincing the audience of the writing and the subject matters that are being dealt with in the script. It really attracts me… I’d love to, but I can’t be bothered to start a whole new career. I’m a bit like… well if they come and ask me, I will think about it. But then it depends on what the role is. You know I would have loved to appear in The Matrix, as The One (laughs) or somebody in the mythical zone of the film.

I would like to appear in something like a Martin Scorsese film or a Wim Wender’s film, those directors, but it depends on the script as well. Perhaps a film about Jesus, this is off the top of my head, but I think it’s likely that Jesus has been partially misunderstood over time. A film which represented him in the way that was true to the source of his message and throwing out all bath water of the editions, the abridgements and the changes that the Gospels have made over the years and to approach the real man, the real prophet. I’m sure that could be an incredible message for Jews, Christians and Muslims alike.

JA: Is there any particular artist or group that makes you really sit up and listen?

PM: Recently the Brian Eno and Peter Schwalm “Drawn From Life” album, the German Oval album; “Oval”and Dido’s album, I heard that Paul Statham had written a couple of the singles on that, he mentioned that he was working with Dido, a couple of years ago while they were writing those two songs for the album. I heard that it was out and quite a success. I thought, you know there are hundreds of female rock-pop artists in America, they are good, but often are sterile. So I imagined that Dido’s album was going to be another one of those girl rock albums… I put it on and loved it! I think she’s got this excellent  and unique voice that stands out from the rest. She’s really done something special with that album… I am a fan of brilliant pop, like Abba, the Beatles of pop! Those kind of brilliant pop artists are rare… I also like the first Spice Girls album in that respect too and Dido was the first album I heard that really hit that middle pop area, that had a lot of integrity about it, a maturity that was very clever, natural and smart.

I also like Moby’s work. I heard bits and bobs of his work in the past, he is a very heartfelt Christian sort of DJ type chap. When you listen to his work there’s a refreshing innocence to it. Similar to homemade demo’s that don’t have a lot of musical technique about them, yet special in a way and I like that.

JA: When asked to describe your music I say it’s universal, in the sense that it’s eclectic and I feel that it cannot really be labelled as one particular style of music. Do you feel that Peter Murphy as an artist can be categorised or labelled or… (interruption!)

PM: I think you could probably say safely, that Peter Murphy is the last and only star… it’s that easy really!

JA: Full stop?

PM: Yep!

12 November 2001, Trieste, Italy.

Peter Murphy (details)

interview by Jamil Ahmad (details)

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[back to summary FM34]

Peter Murphy, born in Northampton, England and now living in Turkey, used to be part of an undefinable British group called Bauhaus. They were like a burning star that poetically burnt out quickly. Anyway that’s history, golden history.

They say the older the wine is, the better it is! Within the realm of the Peter Murphy musical environment, I would say that’s true, but with one difference, this kind of wine is love… Since 1986, with patience and determination, Peter’s solo career has continued to climb each rung of the ladder. With seven solo full length albums to date, the latest being “alive-just for love” (Metropolis Records) and a forthcoming album (to be released next year) that is neither of the east or the west, but rooted in the heart of hearts, Peter Murphy is going from strength to strength… Jamil Ahmad asks the questions to the last and only star!

In Italy the Peter Murphy back catalogue CD’s are still available on the Beggars Banquet label, they are marketed by Spingo and distributed by Self. For more information check the official Peter Murphy web site… www.petermurphy.org


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Trieste Science + Fiction Festival 2023: cortometraggi

Trieste Science + Fiction Festival 2023: cortometraggi

Il fiore del mio segreto (Almodóvar, 1995): la letteratura come seduzione

Il fiore del mio segreto (Almodóvar, 1995):...

Good Omens 2: amore e altri disastri

Good Omens 2: amore e altri disastri

The Plant: il romanzo incompiuto di Stephen King

The Plant: il romanzo incompiuto di Stephen...

The Phantom of The Opera per la prima volta in Italia

The Phantom of The Opera per la...

Pélleas e Mélisande di Claude Debussy: parodia del 1907

Pélleas e Mélisande di Claude Debussy: parodia...

Prigionieri dell’oceano (Lifeboat) di Alfred Hitchcock

Prigionieri dell’oceano (Lifeboat) di Alfred Hitchcock

Tutto il mondo è un Disco

Tutto il mondo è un Disco

Il commissario Ricciardi 2: quattro puntate di noia profonda

Il commissario Ricciardi 2: quattro puntate di...

Sanremo anche no

Sanremo anche no

Casomai un’immagine

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