By Rebecca Aranda
Goths, with their morbid fascinations and reams of black lace, have long held an outsider status. But as vampire stories become more prevalent in the mainstream, goth styles – and darker strains of music, like “witch house” — are now en vogue.
It’s possible that Peter Murphy is to blame for sowing the seeds. The enigmatic frontman of Bauhaus is as productive as ever, polishing his solo work, recording live sets for charity, and keeping his band’s name on the tip of hip tongues. He’s even snagged a cameo role in the latest Twilight movie. I recently had the opportunity to ask him a few questions about old music, new projects, and the eternal attraction of vampires.
MishMash: The vampire fad comes and goes every few years, and it seems like you’ve been there for many of its cycles. From polyamorous vampires in The Hunger, through Lestat in Interview with the Vampire, and now the glittery teen heartthrobs of Twilight…what do you think people find so appealing about vampires?
Peter Murphy: It’s the fable of a trapped spirit within a weighted body, a beautiful eroticism and a call to eternal life. An occultic lesser analogy of the potential in man for perfection, if you like.
However, the vampire is bound, prevented from true perfection, in his search for Drella, his wife and partner, who offers completion. Like Orpheus who went into Hades to rescue his Erydice, The Count will wait in the bodily form to the point of total self-destruction until he is re-united with his Bride. He will not leave without her, since he knows that their union will save him.
I mean! A vampire, at worst, is a prime rockstar; at best, Shakespeare with a bit of lippy and eyeliner. And darkness is cool. The colour black contains all the colours, after all. The flip side of white.
This is all always going to be cool.
MM: Tell us about your cameo role in Twilight: Eclipse.
PM: I like the treatment that [director] David Slade did, even within the confines of conservatism (no drugs, alcohol, blood and guts) it feels more realistic. You can see the oil in the crevices of the noses and sweat on the brows of the lead actors. It’s “Romeo and Juliet” and “Gone With the Wind” all in one. Just beautiful.
David Slade [and “Twilight”] have to be recognized by the Bauhaus/Murphy inspired Gothic culture, because they will really know the poetry in my character, known only as “The Cold One.” In essence, David showed me my legacy, in music and in other worlds. I now feel justified in reclaiming that same legacy. The scene that I’m in is nigh on a subliminal message to the current vampire-thirsty film and TV public, letting them know where it all sort of started.
And I personally think long hair suits me!
MM: Did you talk to any of the glittery teens? Did they know who you are?
PM: I did briefly chat with Kirsten [Stewart] and sat alongside Edward [Robert Pattinson] and the wolf boy [Taylor Lautner] at 6am, while we were being made up. They were all very professional, bearing the weight of the humongous fame that’s dropped on them admirably. I liked them all for that, and yes, they were aware of my work.
I see my small appearance in the film as a clever wry ‘wink’ to those in ‘the know.’ It’s a great honour for me, and I’m now rabidly perusing more substantial acting roles as a result.
MM: This isn’t the first time you’ve been involved in film. What kind of work did you do with Harry Gregson-Williams? Were you working with him directly on film scores, or was it more of a remote thing?
PM: I met Harry G Williams after he and Peter Distefano (my guitarist from 2000 -2003) asked me to write two songs with them for their “So Many Colours” DVD/album release. Now I’m close friends with Harry, and I’m sure we’ll work together in the future on one of his excellent scores. I’m a big fan of Harry’s.
MM: You’ve also had several collaborations with Trent Reznor and Nine Inch Nails. How long have you known him? Do you guys hang out outside of music projects?
PM: No, Trent and I don’t socialize since we live at other ends of the world.
I first met Trent when inviting his (then new) band NIN to guest for my Deep Album Touring days in 1990. It was the first time when I met a prodigy of the Bauhaus-influenced Amercian wave of independent musicians. NIN were like an hour-and-a-half hammer blow! They took on an aspect of the crackle that Bauhaus had, then took it miles elsewhere into a rare original place of its own.
Working with Trent is easy and fast – between us, there are sparks right from the off. When people ask me if I’ll make an album with Trent, I have to remind them that we’ve already made the Murphy/Reznor album embodied in the collection of live/impromptu radio performances that we did during the 2006 NIN/Bauhaus tour. We ended up with a collection of some 16 or more songs that were subversively leaked onto the web.
They’re all out there, virally free for any taker. This in itself is a purist indie music statement and a classic set of songs. Go find it, why don’t you!
MM: Did Trent do anything with you for “Ninth,” your latest solo album?
PM: Nothing – Trent kindly offered to help in anyway he could, but I prefer to save that card for a Murphy/Reznor studio album proper. It may not happen, but either way, we’re both cool.
MM: Since your early post-punk and goth-rock days in Bauhaus, your sound has evolved a lot. You’ve worked in a minimal mode, you’ve worked with layers; you’ve worked with so many different musicians over the years…what separates this latest album from your other solo efforts?
PM: It’s all one long album until I pop my clogs, frankly! All of it, from Bauhaus to my “solo” work to the rest to come. The connections are sewn into each album seamlessly; I see this as giving my music a very long shelf life.
MM: Do you think the way that you make music has changed over the past 30 years?
PM: Not much.
MM: What about the way that people listen to music? What do you think of the current circulation of music, where people are more likely to download music files than purchase a physical copy? Does this method seem more convenient, or does it just leave you cold?
PM: It has still yet to settle. I feel that the item of a real object (such as CD or whatever) will re-establish itself but probably in a digital form. All artists who won’t adjust will slowly disappear. Anyone now can make a decent sounding piece of music in their kitchen, but as always, the real deal stuff will surface.
But how liberating for artists without backing or funds – anyone can get their work out there.
MM: Any other projects going on, outside of “Ninth”?
PM: I have a live album coming out on my label, Huuvola Records (it’s on iTunes right now, except for in North America, I believe). It’s called “There’s A Place Where We Can Meet,” and it’s a benefit album for the Beshara Trust. It’s comprised of six songs; two unreleased new songs, plus 4 well-known songs re-arranged with the Symposium in mind.
For more information on the symposium I performed for, you can go to the Self Knowledge Global Responsibility site: www.selfknowledgeglobalresponsibility.org. I saw it as an opportunity to gather in a new way and rediscover a unified human perspective.
MM: Bauhaus has had a long history of breaking up, re-uniting, then breaking up again. Current status: disbanded. Is there any hope of another Bauhaus reunion?
PM: After two failed attempts at getting the band together since 1998, and it rightfully ending in 2006 with our swan song, “Go Away White,” I’m now taking the songs to the whole range of people who come to listen to my music. So my shows now include Bauhaus work alongside my own so-called “solo” work. In essence, I now hold the Bauhaus banner (though I don’t speak for any former members). Elvis will be in the building at all future concerts – until you’re advised otherwise.
MM: What was it like recording that last album together?
PM: “Go Away White” was such a thoroughly inspired and truly great 18 days for all four of us. We were all on such a high being together, and I’m very happy to have had that time with the rest of the girls. It was a process of reflecting; saying a goodbye to each other, you could say.
Photo Credit: Inez & Vinoodh
Tags: peter murphy, twilight
Music
Film & TV
