Review Summary: Black Neon District
For what it’s worth, “Should the World Fail to Fall Apart” ventured as close to the original Bauhaus sound as Peter Murphy’s solo records are probably ever going to get. Things are markedly different on his second album, which becomes evident as soon as the opening “All Night Long” kicks in with its engaging synth pop melody, perfectly suited for strolling down neon-lit streets of a big city on your way to a disco or a pub. The next song, “His Circle and Hers Meet,” will only make your pace briskier and livelier, as another catchy synth tune is supported here with some rocking guitar riffs and a chorus that is catchier still. Peter is embracing the eighties as they are nearing their end, and his grip is confident.
As you stroll on, you’ll notice that the streets are still sparkling and bright, but the neon light becomes more enticing and romantic, as several softer and quieter songs follow one by one, with the uplifting ballad “Indigo Eyes” particularly feeling almost as a precursor to Peter’s next year’s super hit “Cuts You Up.” However, before we get there, another part of the city is laid before us, unlike anything we’ve seen before or will see later as the album progresses. It must be an older district, an ancient one even, for it is composed partly of medieval towers, and partly of solemn Eastern mosques and bazaars. “Socrates The Python” follows the blueprint of meditative Eastern-tinged tracks from the previous album, like “Never Man,” but it is a richer, sprawling song, full of mystical atmosphere, hypnotic rhythms, and heavenly chorales. All this is crowned with Peter Mutphy’s deep voice and cryptic lyrics reflecting on the nature of God. The album is full of radio-friendly songs that wouldn’t feel out of place in the same playlist as Depeche Mode and other heroes of the eighties, but of all the songs on “Love Hysteria,” “Socrates the Python” represents the most accomplished artistic statement and the biggest reward for an attentive listener.
Just as you are starting to get tired of the eastern labyrinths and the romantic allure, the streets around you explode with bright lights and laughter once again, as “Blind Sublime” roars to life. By far the most dynamic and powerful song on the album, punctuated by some very interesting melodic leads and soft “aahs” of the backing vocals, while Peter sings with suitable passion.
As we walk on, the nice if rather repetitive landscape of “My Last Two Weeks” will give way to another energetic outburst of “Fun Time,” so our evening walk remains rather diverse throughout. Unfortunately, its last steps are the least engaging. Maybe we’re just tired of walking by the time we get there, but the above mentioned “My Last Two Weeks” starts to feel positively monotonous towards its second half, while Peter’s version of “Fun Time” feels redundant, hardly adding anything new to Iggy Pop’s original, and as for “I’ve Got a Miniature Secret Camera…” Well, I’ve heard the song about a dozen times already and still fail to remember what’s going on in there.
However, despite losing some of its steam by the end, “Love Hysteria” is a refreshing look on eighties rock and synth pop through gothic filters. Peter Murphy analyzed and utilized the sounds and styles that were fashionable at the time, while retaining his core artistic identity. His unique voice with its characteristic somber delivery plays an essential part here, as it keeps things grounded, preventing even the most danceable songs from sounding shallow and overly lightheaded. This album is only the first step of the journey, as similar styles will be further explored and expanded on his two follow-up records, but this step is already masterful and confident.
