Two thin beams of light shine into his face from opposite ends of a darkened stage, making Peter Murphy look like his skull has been pierced with opposing drills of illumination. His PETER MURPHY long and angular presence waits, assuming a mime -like stance that fills onlookers with mysterious anticipation as he opens the set. The lurking intro of "His Circle And Hers Meet" unfolds into an hour plus of music from Murphy's newly released Love Hysteria Lp on Beggars Banquet/RCA Records. He stands like a sentinel waiting for the first musical break, a cue for the haunting and familiar voice that bellowed tones in the Bauhaus favorite, "Bela Lugosi's Dead", now declaring its independence in songs more uplifting... and human. The fact that Murphy is a natural performer may have been established in the early 80's, but now he's provingitto American audiences with an album that showcases his strength as a songwriter and musician as well as one of the more distinct voices in popular music today. You may remem- ber him as the caged singer in movie clips of "The Hunger"; or in the 1984 project by Dalis Car with ex -Japan member Mick Karn; or the release of his first solo Lp Should The World Fail To Fall Apart. These were among the events that became the catalyst for his best production to date. "Love Hysteria" brings forth a swirling modern sound that melts the musical per- sonalities of pop, classical, latin, eastern, Bowie and Iggy, but mostly Peter Murphy's glowing aura which overshadows any hint of imitation. With the prospect of commercial radio success in America becoming a reality this time around, Murphy muses "I don't No matter how you categorize his new sound, Peter consider any of my records more or less mainstream that the Murphy's writing is more mature than ever without leaving be- other. My point of view is writing, creating and performing on hind any of the visual imagery his songs have in common. The stage. I don't feel that I've softened up at all and I'm just as abstractions leave room for more personal interpretation and passionate about Love Hysteria as I was In The Flat Field as an artist, he prefers that effect above all else in the music. [Bauhaus 1980] or "Bela Lugosi". The process is still exactly the same, as is the whole attitude. "Dragnet Drag" for example was inspired by a painting. "I Maybe there's more wanted to write a fairytale about an imaginary place," says melodic potential in my writing now, because the melodies I Murphy, "the song turns out to be a love song, but it's also heard in my head during Dalis Car or Bauhaus were more in- about liberation of the soul. It's a story about three souls (rep- stinctive. They were not necessarily meant to be alternative, but at the time were. I'm happy to know that what I'm doing resented by doves) being held captive by an evil spirit (a dragon). They eventually escape into freedom and the story now can be heard by more people and it's also refreshing to unfolds into swirling themes that overlap the main one being realize that more album radio stations are willing to negotiate love and the freedom that surrounds it." Most of the songs are newer artists.It seems they feel more comfortable with those who offer a different sound instead of churning out the same written on his 4 -track home studio. "I was just strumming on the guitar until the sound was just right. sound every time. They now want the music that has always I wanted a high ener- been there." gy approach with a quiet break for the monologue. There is a lot of layering in all of the songs, but they are basically very simple. If you break all the parts down you can hear each one working independently of the other." For a guy who is perfectly capable of making a go of it on his voice alone, Peter Murphy's desire to explore more musi- cal avenues on this album is quite evident."I didn't want to be limited to one aspect of my own record. In Bauhaus everyone played one instrument and it just so happened that my voice was my instrument. I never bothered to learn another, but when I went solo, I new the only way to get the music recorded the way I wanted it to be was to start using instruments myself and bring in someone to collaborate with.It was very difficult at first, not knowing any other possibilities, but I picked things up along the way using my ear mostly. Many of the songs on Love Hysteria were created from very simple ideas.I would just play around on the keyboards and hear foundations of songs. There is still collaboration going on, but one part is not intended to be stronger or dominant than the other. It's all part of the whole." Translating the record to live audiences has been Peter's biggest job in recent weeks, but converted fans and stronger record sales are an important reason why he plans to return to America in July. The "All Night Long" video is in rotation on MTV which leaves no doubt that another wave of recognition should fuel the upward momentum of his career. This is quite a comeback story for the man who picked himself up after the spotlight mania of Bauhaus grew dim. The will to "start over" does not come easy. Peter Murphy credits, "A solid relation- ship with my wife was a real motivation after Bauhaus ended. Coming down off of such a high feeling made it difficult to carry on and even start over. This may have been born of fear and exhaustion, but I needed help in discovering my talent again. For the first time after Bauhaus I feel totally in communion with writing and performing again, which at one time was ques- tionable because of the pressure to succeed like I did then.... but that time is passed." Dawn Hood The Hard Report May 27, 1988.