Peter Murphy – the line between the devil’s teeth and that which cannot be repeat
Peter Murphy – the line between the devil’s teeth and that which cannot be repeat
Flood Gallery Publishing
Release Date: 31/07/23
Review by Laura Barnes
8/10
Does a person’s handwriting reveal their inner self? It’s difficult to say, but it certainly gives you something to think about as you flick through Peter Murphy’s latest book, the extensively titled “the line between the devil’s teeth and that which cannot repeat”. Alongside collecting Peter Murphy’s lyrics from 1980-2014 (including both his work with Bauhaus, Dali’s Car, and his solo work), this collection includes handwritten drafts, pieces of artwork and photography that accompany many of the songs featured. Some of this artwork is by Murphy himself, and others are pieces of artwork that act as a companion to the song – the Georgia O’Keefe jumpscare that accompanies ‘Of Lillies and Remains’ is one good example.
It is interesting to revisit these lyrics away from the music, giving the reader a chance to enjoy them as poetry. Through reading this, I gained a new appreciation for ‘Time Has Got Nothing To Do With It’, a song that I previously had not (ironically) spent much time with. Separated from the music, it becomes clear how sad the lyrics are as they describe both a freedom and a powerlessness.
Post-punk is often criticised for being too navel-gazey, but this feels more like gazing up at the stars. It contrasts significantly with the simplicity of the lyrics of ‘Keep Me From Harm’ and ‘Too Much 21st Century’, both of which are exhilarating in their sincerity.
If read chronologically, it becomes striking how much Murphy’s Catholic upbringing and later conversion to Sufism influenced him in all of his musical projects, with the world of the sacred being a recurring motif from Bauhaus’ early days (see ‘Stigmata Martyr’) all the way to his more recent solo work (see ‘Eliza’ and ‘SubhanAllah’). Still, there is nothing overly personal within this book, and as a result Murphy remains as elusive and mysterious as ever. One can only speculate into the workings of Murphy’s psyche by analysing his handwritten notes. The writing accompanying ‘Dream Gone By’ for instance, is clear, easy to decipher, and suggests confidence and certainty. ‘Fake Sparkle or Golden Dust’, meanwhile, is a chaotic masterpiece, the scribblings and borderline-obsessive retracings are evidence of a mind on fire. Other etchings remain a mystery: circles and spirals are hidden throughout, like eyes staring back out at you.
This is the kind of thing that hardcore Bauhaus fans and Murphyheads will adore. The photography interspersed throughout the book – particularly those of heyday Bauhaus in the first half of the book – will no doubt make for a hefty nostalgia fix for any fanboy out there. The tender introduction by Peter himself gives this book just a touch of the personal, encouraging the reader to look within his lyrics and discover their own meanings, their own songs. If one chooses to, you could spend hours pouring over this.
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