Cool Peter Murphy interview from Artist Direct.
What’s the first thing that comes to mind when you think of In the Flat Field?
I always relate it to when Daniel and I found each other. Once he and I went into an old mobile studio and classroom to rehearse with one amp, one guitar, and one vocal with a reverb on it, we wrote half of In the Flat Field in two days. I’d never written a song. Once the other two guys came in, we were all very submissive to what was going on. There was no pecking order. I established the idea that everybody has a core split, even if I sing one note or Kevin [Haskins] hits one cymbal. It was fast, furious, and quite thrilling to be kicking against what was this mundane working class flat field of no opportunity and no hope.
This was post-punk. I was not a punk. I appreciated it, but this was a bit more esoteric, a bit more artful, and a bit more completely pretentious, marvelous, and beautiful. It reminds me of that. It also reminds me of how, once again, it was not overly considered. We’d write live. We’d hone it as we went. Then, we’d go record it. Even if the recording sounded like an ant scratching on a tin roof with really bad hi-fi, it didn’t matter. That’s a great thing to hold on to. That’s what gives me a great appreciation of what I still do. I love doing it.
Read more at Interview: Peter Murphy @ARTISTdirect.