Page 2 • The Battalion Ass ieli f e .. Monday • April 24, ill Murphy’s Law: Career hits new CascaA 5 By Kyle Littlefield The Battalion Peter Murphy Cascade Beggars Banquet ★ ★★★ (out of five) Peter Murphy Peter Murphy has always relied on image to get his music across. At times, he has seemed the vampire, other times the Gothic prophet speaking of another world. While this worked to sell records, the image of "Pe ter Murphy” grew too large, overshadowing the actual person. Murphy set out to remedy this situation, dissolved his backing band of seven years. The Hundred Men, moved from his native England to Turkey, and spent time collecting his thoughts. He emerges from his sabbatical with Cascade, an al bum to show the world the true Peter Murphy. Cas cade finds Murphy continuing to delve into the depths of the abstract, yet somehow maintaining a friendly pop sensibility. Cascade combines the deft lyrical skill of his 1990 album Deep, with the danceable computer program ming of 1988’s Love Hysteria, and includes the same atmospheric qualities of his last album, Holy Smoke. It seems as if Murphy’s voice only gets better with age. His trademark baritone is strong yet versatile. The "Peter Murphy sound” is as apparent on Cascade as it was on Deep — he still beds the tracks with a low- pitched vocal, and then sings over it with his David Bowie-like lead. Murphy borrows a little bit more from Bowie on songs like “Gliding Like a Whale,” which features ex perimental background sounds indigenous to Bowie’s Heroes album. Like many of Murphy’s songs, “Gliding” describes the abstract — “It only takes the time be tween here and there for landing in another place / Saw your shadow fleeting in the corner of my eye / Your feet were skimming the sand as the sun begat; fly.” He comments in a press release, “Oblique imager used purposefully to be non-specific because if you; an idea when you describe it, the idea dies.” Murphy echoes his earlier gem, “Cut’s You Up,"k: the lyrical sequel “The Scarlet Thing in You." WH not as dark and moody as “Cut’s You Up,” the song: fers Murphy another chance to show his hit songut ing potential. The lead guitar is reminiscent ofH Cure’s “Just Like Heaven,” as it spirals in and out the melody. “Disappearing” is of the same vein as Holy Smoi “Keep Me From Harm” — crunchy, guitar driven. | ! “It’s about the disappearance or the loss of one’s ® personality within a partnership, within your mar® Murphy says. Murphy explains that he attempts to writeal love in a certain fashion. “I do it in a way that offers a set of images and lage of words that attempt to explore a wider com he said. “Disappearing” is also the one track on the that Murphy slips back into the groove of his prev: work with Bauhaus. Murphy should be congratulated on his willing: to continue to experiment. In a time where disto: guitars are essential for a hit, and keyboard: taboo, Murphy fearlessly compliments his songs the buzz and whir of computer-generated sounds. “I’ll Fall With Your Knife” could be a harbinger the fate of music post-1995 with its brilliant mixtum guitar and computerized noise. The song is a religi; experience with its prophetic lyrics and the monk! chant of the refrain. “Oh, like winter in July/Abarri river wide / I pray for the flood to wash on you/l| here I’ll be with you,” Murphy sings. Peter Murphy albums have always been powerrj but are often quickly found in used-CD bins. Howei Cascade should avoid this fate. It contains many that the listener will simply want to have near. 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